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LETTERING 


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WRITTEN  BY  WM.  HUGH  GORDON 

'I 

PUBLISHED  BY  THE  SIGNS  OF  THE  TIMES  PUBLISHING  CO.,  CINCINNATI,  OHIO 


Copyright  1918 

by 
THE  SIGNS  OF  THE  TIMES  PUBLISHING  COMPANY 

Cincinnati,  Ohio 
Owners  and  Publishers 

SIGNS    OF    THE    TIMES 

"The  National  Journal  of  Display  Advertising" 


FOREWORD 


In  presenting  the  subject,  text  and  illustrations  of  lettering  in  this  book,  an  effort  has  been  made  to  set  forth  as 
simply  as  possible  the  methods  found  most  practical  in  the  production  of  letters  for  commercial  purposes,  embracing  show 
card  writing  and  lettering  posters  and  advertising  matter  for  single  copy  jobs  or  process,  reproduction. 

As  the  historical  origin  of  letters  has  been  thoroughly  covered  by  competent  authorities  in-  many  technical  publi- 
cations, no  attempt  will  be  made  to  cover  that  part  of  the  subject,  except  in  reference  to  classification  of  the  illustrations 
from  a  fundamental  basis. 

From  a  literary  viewpoint,  the  writer  respectfully  calls  attention  to  the  fact  that  the  text  is  simple,  practical  "shop 
talk"  gleaned  from  direct  association  with  members  of  the  craft  during  many  years  of  actual  labor  in  the  various  branches 
of  the  field  and  art  of  lettercraft. 

In  consequence,  if  the  reader  expects  a  scientific  literary  dissertation  within  these  pages  disappointment  awaits,  as 
the  main  object  consists  of  reducing  the  subject  to  its  least  common  multiple,  both  in  point  of  technicality  and  production. 

Unlike  most  publications  relative  to  lettering,  in  which  the  illustrative  matter  has  been  gathered  from  indiscriminate 
sources,  representing  the  best  efforts  and  technique  of  numberless  letter  artists  and  craftsmen  in  gallery  effect,  the  ex- 
amples herein  are  reproductions  of  the  personal  work  and  conceptions  of  one  individual,  some  of  which  are  imitative,  others 
being  modifications  of  existing  letter  and  type  styles  and  models  in  original  style.  In  each  case  the  treatment  and  method 
of  production  is  calculated  from  four  ultimate  viewpoints: 

First,  simplicity  of  form  without  loss  of  effect  or  basic  principle. 

Second,  the  actual  production  of  the  above  with  the  least  amount  of  effort  in  the  shortest  possible  time. 

Third,  the  arrangement  of  the  whole  in  an  effective  and  artistic  manner. 

Fourth,  a  selection  of  letter  styles  adaptable  to  and  in  conformity  with  the  subject  wherever  possible. 

In  order  to  aid  the  reader  to  accomplish  these  results,  using  a  variety  of  letter  forms,  schemes  of  arrangement, 
methods  of  production,  etc.,  a  series  of  chapters  relative  to  the  subject  has  been  arranged  herein,  in  each  case  possible; 
illustrative  examples  are  shown  and  the  methods  of  production  explained ;  useless  methods  eliminated,  or  at  least  tem- 
porarily sidetracked  for  the  rapidly-moving  present.  Ever  remembering,  however,  that  which  is  considered  junk  today 
may,  with  a  few  minor  changes,  be  converted  into  valuable  material  tomorrow. 

To  avoid  monotony,  the  subject  has  not  been  treated  in  continuity,  which  phase  usually  requires  many  reviews.  Such 
explanations  as  may  not  be  sufficiently  lucid  in  one  chapter  will  probably  assume  definite  proportions  in  another  when 
clothed  with  different  nomenclature  and  accompanied  by  a  change  of  illustrative  matter. 

In  brief,  the  entire  subject  and  illustrative  matter  is  compiled  with  a  view  of  eliminating  the  highly  technical  ex- 
planations and  different  methods  of  producing  a  class  of  hand  lettering  that  possesses  commercial  value  and  artistic  merit. 

The  examples  of  lettering,  show  cards,  etc.,  displayed  herein  were  made  in  ordinary,  every-day  work  style,  prac- 
tical and  possible  by  the  methods  enumerated,  not  carefully  drafted  or  retouched  for  perfection  of  engraved  display  pur- 
poses. -WM.  HUGH  GORDON. 


CONTENTS 


Foreword 

I. 

Modern  Lettering 

9 

XII 

II. 

Classification  of  Letters  and  Types 

11 

XIII 

HI. 

Some  First  Principles  in  Lettering 

15 

XIV 

IV. 

Brushes  and  Pens  for  Lettering 

17 

XV. 

Graceful  Swi 

V. 
VI. 

The  Potentiality  of  a  Show  Card  Writer's  Brush  
First  Principles  in  Show  Card  \Vriting 

23 
26 

XVI. 
XVII. 

Speed  Limit 
Fundamental 

VII. 

Colors  and  Their  Preparation 

29 

XVIII. 

"Poster  Styl 

VIII. 
IX. 
X. 

Some  Ideas  for  the  Amateur  in  Show  Card  Writing 
Arrangement  and  Balance  in  Show  Card  Lettering  — 
Diagrammatical  Analysis  of  Letters 

35 
39 
49 

XIX. 
XX. 
XXI. 

New  Alphab 
The  Show  C 
Illustrative  ! 

XI. 

Raoid  Single  and  Double  Stroke  Numerals 

55 

XXII. 

Motion  Picti 

Economy  of  Motion  as  an  Aid  to  Speed 59 

Modifications  of  Type  Faces  Adapted  to  Brush  Work     63 

d   Lettering 67 

Graceful  Swing  Vs.  Laborious  Draft  in  Lettering 73 

Speed  Limit  in  Lettering  Show  Cards 77 

Fundamentals  of  Speed  Work 99 

"Poster  Styles"  of  Lettering  for  the  Card  Writer 103 

New  Alphabets  Vs.  Old 121 

The  Show  Card  and  the  Show  Card  Man___ 133 

Illustrative  Stunts  for  Show  Cards 151 

Motion  Picture  Titles  and  Their  Preparation 153 


CHAPTER  I 


Modern  Lettering 


PRESENT  day  styles  of  lettering  in  the  abstract  represent  the 
combined  results  of  numberless  and  nameless  designers  of  all 
nations  covering  a  period  of  centuries  of  time.  Each  period 
has  produced  its  peculiarity  and  phases  of  style  and  design,  which, 
in  the  main,  have  a  common  or  almost  identical  basic  principle. 
The  A  B  C's  with  which  most  all  nations  are  familiar  is  a  series 
of  shapes  or  symbols  representing  sounds  which  have  meaning  and 
use,  and,  when  properly  arranged,  represent  the  spoken  word. 

The  first  crude  attempt  of  school  kids  in  carving  their  initials 
on  any  piece  of  wood  that  is  handy  represents  the  basic  principle 
of  all  letters  and  alphabets  with  which  the  English-speaking  people 
are  familiar.  They  are  practically  the  original  symbolic  characters 
representing  sounds.  Printers  and  sign  painters  of  today  variously 
classify  these  characters  as  Egyptian,  Block  or  Gothic  capitals,  the 
chief  characteristic  being  construction  by  a  combination  of  elements 
of  even  width  throughout.  The  term  Gothic,  however,  historically 
refers  to  the  style  Gothic  in  the  arts  and  involves  most  all  the  texts, 
such  as  old  English,  German  text,  black  letter  and  uncial  letters. 

The  variety  and  style  of  letters,  types  and  alphabets  in  common 
use  today  defies  classification  or  enumeration.  Many  types  and 
styles  are  immediately  recognizable  but  unnameable.  Many  types 
and  styles  are  known  by  the  name  of  their  designer.  A  memoriza- 
tion of  the  aggregate  would  be  a  useless  burden  to  assume  and 
would  serve  but  little  benefit  except  to  the  printer. 

In  order  to  simplify  the  proposition  as  it  appears  within  these 
pages,  the  writer  would  call  attention  to  the  fact  that  from  a 
common  basic  principle  has  been  evolved  four  different  styles,  or 


four  elementary  classifications,  upon  which  are  variously  con- 
structed all  the  alphabets  in  common  use  by  letterers,  printers,  sign 
painters,  designers  and  engravers. 

These  four  classifications  are  known  as  Gothic,  Roman,  Text 
and  Italic,  capitals  and  small  letters,  which  the.  printers  term  upper 
case  and  lower  case,  in  the  order  named.  These  are  represented  in 
direct  contrast  as  shown  in  Plates  100,  101,  102  and  103. 

The  letterer  or  student  who  decides  to  devise  or  design  a  cer- 
tain style  characteristic,  based  on  any  particular  series  of  letter  or 
type  styles,  will  avoid  confusion  by  first  learning  to  classify  any 
given  example  as  being  based  on  a  certain  principle,  regardless  of 
its  exterior  treatment  or  appearance. 

There  are  numberless  styles  of  letters  and  types  in  common 
use  that  are  not  generally  known  by  name  even  by  the  expert 
typographer  or  letterer,  but  are  easily  classified  as  being  either 
Gothic,  Roman,  Italic  or  Text  faces,  and  as  such  they  are  known. 
As  most  of  the  work  in  this  book  applies  to  commercial  lettering, 
the  styles  illustrative  will  be  referred  to  by  type  classification  as 
above  noted. 

All  letters,  either  direct  copies  or  hand-drawn  modifications  or 
types,  having  elementary  parts  composed  of  even  width  strokes  are 
classed  as  Gothic.  All  letters,  either  direct  copies  or  hand-drawn 
modifications  of  types  having  elementary  parts  composed  of  ac- 
cented strokes  are  classed  as  Roman. 

The  letters  based  on  "Text"  are  variously  known  as  Old  English, 
German,  Church,  and  numberless  other  Text  styles. 


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ABCDEFGHIJKLM 

GOTHIC       CAPITALS 

ABCDEFGHIJKLM 

ROMAN       CAPITALS 

AB  CDEFGHIJKLM 
AB 


ITALIC        CAPITALS 


English  text 

PLATE       I  OO . 


Any  or  all  of  the  above  when  written  or  drawn  on  a  slant  are 
known  variously  as  Italics  and  classified  generally  as  either  Gothic 
Italic,  Roman  Italic,  Text  Italic,  etc. 

The  true  Italic,  however,  partakes  more  of  the  style  of  written 
forms  based  on  script,  which  letters  may  be  either  joined  together 
or  written  separately,  as  the  case  requires. 

The  above  summary  will  be  found  less  confusing  as  a  whole 
than-  a  memorization  of  the  historical  and  traditional  forms,  names 


NOPORSTUVWXYZ 

GOTHIC       CAPITALS 

NOPQRSTUVWXYZ 

ROMAN      CAPITALS 

NOPQRSTUVWXYZ 


ITALIC      CAPITALS 


IFngluh  TCext  (Capitals 
PLATE     IOI 


and  origin  of  the  letters,  styles  and  the  periods  of  time  in  which  they 
were  originated. 

To  those  who  are  interested  in  these  style  events  and  desire  to 
acquaint  themselves  with  authentic  and  reliable  illustrative  data, 
the  writer  respectfully  suggests  a  perusal  of  the  works  of  Thomas 
Wood  Stevens,  Frank  Chanteau  Brown,  and  many  others,  all  of 
which  are  highly  interesting,  beautifully  illustrated  and  written  in 
a  comprehensive  manner. 


10 


CHAPTER  II 


Classification  of  Letters  and  Types 


IF  you  were  to  ask  the  average  reader  of  his  home  town  news- 
paper what  class  of  type  was  used  in  the  headlines,  the  news 

section  or  in  the  leading  department  store  ads,  he  would  prob- 
ably answer,  "Oh,  just  ordinary  printed  type."  If  the  same  question 
were  asked  of  a  printer  who  was  acquainted  with  the  sheet,  he  would 
probably  enumerate  a  few  of  the  leading  features  as,  "The  title  is 
seventy-two  point  Text ;  the  feature  headlines  are  forty-two  point 
Gothic ;  the  news  section  is  eight  point  DeVinne ;  the  sub-headings 
are  twenty-four  point  Jensen ;  the  editorials  are  ten  point  Scotch 
Roman ;  Smith's  Department  Store  runs  outline  DeVinne  in  its  ad 
headings ;  Brown  uses  inline  Cheltenham  headings ;  Jones,  the 
jeweler,  runs  twenty  point  Caslon  Italics." 

The  Blooey  Auto  Company  runs  hand-lettered  ads,  etc.  Ask 
a  sign  painter,  show  card  writer  or  a  commercial  letterer,  nine  out 
of  ten  will  be  unable  to  enumerate  or  name  the  styles  of  type  used 
except  possibly  as  Gothic,  Roman,  Italic  or  Text.  This  is  called 
classification  and  is  in  most  cases  sufficient. 

Before  printing  was  invented,  books  were  hand-lettered  or 
written.  Printers  first  fashioned  their  type  faces  after  the  lettering 
in  manuscript  books.  At  the  time  of  the  invention  of  typography 
the  style  of  lettering  was  known  as  Gothic,  Black  Letter,  Text  and 
Old  English.  Gothic  from  its  pointed  formation  and  its  preference 
by  the  Gothic  peoples.  Black  Letter  from  its  blackness  on  the 
printed  page.  Text  from  its  use  for  the  body  or  text  matter  of  the 
printed  page,  and  Old  English  from  its  use  by  the  early  English 
printers. 

Text  letters  are  still  in  use  in  Germany  and  on  German  papers 


in  this  country,  the  fractur  being  a  standard  type  face  for  these 
purposes. 

Late  designs  of  letters  indicate  a  gradual  return  to  the  Roman 
characters  from  which  Text  was  evolved.  Text  capitals  are  par- 
ticularly illegible  and  for  that  reason  should  never  be  used  alone  in 
a  line.  There  are  capitals  devised  which  are  a  mixture,  half  Roman 
and  half  Text,  based  on  the  early  uncial  letter,  which  are  more 
legible  than  either  the  German  or  English  text. 
.  Block  letters,  known  as  such  by  their  plain  square  block  appear- 
ance, are  today  called  (misnamed)  "Gothic"  by  printers.  They  are 
the  same  general  shape  as  the  Roman  and  are  constructed  of  lines 
of  uniform  width  throughout,  while  Roman  is  accented ;  in  other 
words,  composed  of  elementary  strokes  consisting  of  both  heavy 
and  light  lines. 

The  Roman  capitals  were  evolved  from  the  Greek.  The  Roman 
scribes  gave  it  its  typical  design,  and  the  use  of  the  reed  as  a 
medium  of  production  settled  the  direction  of  its  accent.  The  reed 
was  a  flat,  chisel-pointed  device  (from  which  the  modern  stub  pen 
was  evolved).  This  was  dipped  in  ink  and  held  in  a  nearly  vertical 
position.  In  writing  the  Roman  capital  A,  for  example,  the  first 
stroke  was  made  upward  from  left  to  right  with  the  sharp  chisel 
edge  of  the  reed  which  produced  a  hairline ;  the  second  stroke  down- 
ward from  left  to  right  made  with  the  wide  flat  point,  as  broad  as 
the  width  of  the  chisel  edge,  produced  a  heavy  line,  called  the 
accent ;  the  cross  bar  horizontal  was  made  with  the  thin  edge,  pro- 
ducing a  thin  or  hair  line. 

This  principle  of  accent  is  apparent  throughout  the  entire  alpha- 


11 


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abcdefghijklm 


Gothic    Lower    Case 


abcdefghijklm 


Roman    Lower    Case 


abode  fghijklnv 

ItaTic  Lower  Case 

ab  c£  ef 


36ngjish  1&xt  lower  case 
E>  1  ate     102 


bet.  All  upward  strokes  from  left  to  right  are  light,  except  in  the 
Z,  which  middle  stroke  was  made  downward  from  right  to  left  with 
the  broad  edge.  All  downward  strokes,  whether  vertical  or  drawn 
from  left  to  right,  are  heavy,  except  the  verticals  in  the  N  and  the 
first  vertical  in  the  M,  which  are  light.  As  originally  written  with 
the  reed,  these  were  up  strokes.  The  first  stroke  of  the  U  was 
made  downward  and  accented,  the  second  is  an  up  stroke  light,  and 
the  single  down  stroke  of  the  I,  J  and  T  is  heavy.  The  accent  of  a 
curved  stroke  also  follows  this  principle.  The  down  strokes  on 
each  side  being  accented,  and  thinnest  on  the  top  and  bottom. 

The  addition  of  serifs,  commonly  called  spurs,  being  horizontal 
in  the  capitals  are  also  light  hairlines  which  may  be  subsequently 
rounded  into  the  verticals,  if  desired.  Thus  from  the  record  we  are 
told  that  the  accent  was  imposed  on  the  Roman  letter  by  the  tool 
with  which  it  was  originally  made,  and,  while  the  modern  letterer, 


using  flat  chisel  edge  brushes  or  pens,  does  not  make  up  strokes, 
but  makes  all  strokes  downward  on  Roman  letters,  the  principle 
of  accent  remains  the  same. 

A  parallel  of  this  fact  occasions  the  theory  that  all  single  stroke 
or  "written  letters"  assume  the  characteristics  imposed  on  the 
elementary  principles  by  the  tool  with  which  they  are  made.  There- 
fore, the  use  of  a  tool,  pen,  brush  or  device  that  will  semi-auto- 
matically  produce  the  elements  of  a  letter  in  a  series  of  properly 
arranged  single  strokes  would  be  the  most  logical  and  quickest  way 
to  arrive  at  the  result.  Why,  then,  have  we  been  almost  universally 
taught  to  draw  the  forms  of  letters  in  outline  ? 

No  doubt  this  primary  idea  is  correct  in  so  far  as  learning  the 
forms  of  letters  is  concerned,  but  why  stick  to  this  method  of  pro- 
duction after  having  accomplished  the  primary  result?  Today  we 
have  pens  and  brushes  adapted  to  the  single  stroke  production  of 
almost  any  style  of  letter,  also  many  modifications  of  different 
style  type  faces.  The  evolution  of  letter  styles  and  their  arrange- 


nopqrstuvwxyz 

Gothic     Lower   Case 

nopqrstuvwxyz 

Rom 

nopq 

1         *-!> 

no  p  q rstuutnxij 


Roman,  Lo\ver   Case 


Itah-c  Lower  Case 


(P16  Iftujlish  S?jct  Icraer  case. 
Plate    103 


12 


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ment  is  mainly  responsible  for  the  record-breaking  bursts  of  speed 
displayed  by  the  show  card  writer. 

We  have  of  necessity  devised  certain  styles  of  lower  case,  or 
small  letters,  that  permit  of  greater  speed  in  execution.  These 
changes  have  occurred  gradually,  and,  for  the  most  part,  their  indi- 
viduality in  appearance  has  been  caused  by  the  mediums  employed 
in  their  production.  These  mediums  have  in  turn  proven  the  possi- 
bilities of  designing  new  letter  styles  or  making  acceptable  modi- 
fications of  existing  styles,  both  of  type  and  hand-lettered  origin, 
at  a  higher  rate  of  speed. 

The  letterer  has  no  logical  need  to  cumber  the  memory  with 
trade  names  of  type  or  letter  styles.  It  is  only  necessary  that  he 
should  be  able  to  classify  any  letter  or  alphabet  as  belonging  to  a 
certain  system  or  basic  principle. 

For  the  purpose  of  classification  we  assume  that  all  known 
letter  styles  are  primarily  based  on  what  is  now  universally  known 
as  Gothic,  Roman,  Italic  and  Text. 

In  classifying  as  Gothic,  all  sans  serif  letters  of  even  width 
stroke  we  adopt  a  modern  printer's  term,  as  historically  the  style 
"Gothic"  refers  to  many  Uncial,  Text  and  Black  Letter  forms,  which 
is  more  confusing  than  instructive. 

Some  lettercrafters  and  designers  may  take  exception  to  classi- 
fying square  and  round  block  or  even  width  stroke  letters  with  or 
without  serifs  as  Gothic,  but  as  we  are  dealing  with  type  styles  and 
hand-made  letters  that  are  modifications  of  type  styles  for  commer- 
cial purposes,  it  will  be  better  understood  than  delving  into  the  dead 
past  for  historical  nomenclature  to  fit  modern  lettering  adapted 
strictly  to  commercial  purposes. 

Therefore,  if  a  letter  is  formed  of  even  width  strokes  through- 
out it  is  classed  as  Gothic.  If  the  strokes  are  accented  it  is  classed 
as  Roman.  If  it  is  made  on  a  slant  it  belongs  to  the  Italics.  The 
historic  Gothic,  Lombardic,  Uncial,  Half  Uncial,  Black  Letter, 


Cloister  or  Church  Text,  Old  English  and  German  are  all  classed 
"Text." 

The  designer  of  letters  frequently  finds  use  for  the  principles 

involved  in  these  text  styles  as  a  judicious  admixture  with  the 

elements  of  Roman  frequently  results  in  a  beautiful,  legible  modi- 

•fication  that  is  more  easily  and  rapidly  made  than-  either  of  the 

parents  immediate; 

A  capable  workman  should  be  able  to  rapidly  produce  a  fairly 
good  resemblance  to  either  upper  or  lower  case  Gothic,  Roman, 
Italic  or  Text  by  the  single  stroke  method,  with  either  brush  or 
lettering  pen. 

The  study  and  practice  of  these  letter  forms  based  on  the  above 
classification  should  receive  careful  attention,  and  the  ability  to 
distinguish  these  classifications  in  devising  styles  best  adapted  to 
certain  needs  is  one  of  the  prime  requisites.  The  ability  to  draw 
the  forms  does  not  qualify  one  as  a  letterer,  especially  from  the 
show  card  writer's  viewpoint,  which  is  "Quantity  First."  There 
are  at  least  a  dozen  methods  of  producing  letters  by  hand.  Of  these 
but  two  are  worthy  of  consideration,  namely,  free-hand  modeled 
and  written. 

Why  the  maker  of  show  cards  is  called  a  show  card  "writer"  is 
from  the  fact  that  most  of  his  lettering  is  really  written,  so  called  be- 
cause produced  by  the  rapid  single  stroke  method,  much  the  same 
as  writing,  regardless  of  whether  a  brush,  pen,  or  other  device  is 
used,  or  the  characters  are  slant  or  vertical. 

Note  the  Plates  100  to  103— Gothic,  Roman,  Italic  and  Text, 
upper  and  lower  case — all  of  free-hand  single  stroke  construction, 
the  text  illustrated  in  this  case  being  Old  English.  Upon  each 
classified  principle  numberless  and  nameless  styles  of  letters  and 
types  have  been  and  are  still  being  designed,  also  countless  modi- 
fications may  be  devised  either  singly  or  by  careful  admixture  of  the 
elementary  principles  throughout  the  entire  alphabet  in  uniformity. 


13 


LETTERING  FOR  COMMERCIAL  PURPOSES 

Comparative  Elementary  Principles  of  Gothic,  Roman.  Italic  and  Text.-The  four  classifications  shown. 

lA-CDOSCSIU 

The  Gothic  elements  consist  of  uniform  width  strokes  throughout",  using  either  brush  or  pen. 
Qtite-TkA  ehmwts  indicated  are  single  brush  strokes  as  applied  to  Singh-stroke  lettering 


A-OOS:SIIII 

The  Roman  elements  are  accented,  Keavy  and.  light  lines  as  indicated. 

/  \-OQKSUl. 

Italics,  (Like  ike  Roman)  elements  are  accented.  Consisting  of  heavy  ant  light  lines  as  indicated. 


elements  of  fext'are  also  accent^.  J^istcricatls.fet  iskiuwtv  as  6otlik.  "Uote  explanatictL'. 

PLATE      O 


14 


CHAPTER  III 


Some  First  Principles  in  Lettering 


SYMBOLIC  characters  representing  vocal  sounds  can  be  traced 
back  through  countless  ages.   Some  of  the  first  forms  of  which 
there  are  authentic  records  are  with  us  today ;  they  represent 
the  basic  principles  of  the  early  Roman  and  Gothic  letters,  from 
which  source  we  derive  our  modern  alphabets.    Briefly,  these  ele- 
mentary principles  consist  of  parallel  and  horizontal  lines,  right 
and  left  obliques,  oval,  circle  and  the  compound  curve. 

The  above-named  letters  contain  these  elements  in  their  most 
condensed  form,  as  shown  in  Plates  105  and  106.  Regardless  of  the 
thickness  of  these  strokes,  their  various  combinations,  no  matter 
how  produced,  give  us  a  tangible  series  of  principles  with  which  to 
design,  construct  and  elaborate  upon  any  or  all  alphabetical  char- 
acters with  which  the  civilized  races  are  familiar.  By  numbering 
these  elements  consecutively  any  letter  may  be  analyzed  into  its 
component  parts.  Designing  or  constructing  any  letter  minus  these 
principles  means  meaningless  hieroglyphs ;  an  incorrect  arrange- 
ment of  these  principles — same  result. 

The  main  object  in  calling  attention  to  these  principles  is  the 
numerous  examples  we  are  often  called  upon  to  criticize.  To  the 
professional  eye  all  alphabets  are  primarily  the  same  proposition 
under  different  exterior  treatment.  To  the  average  beginner  or 
amateur,  and  many  of  the  semi-pros,  every  alphabet  is  a  different 
picture,  to  be  studied  from  appearance,  losing  sight  of  the  fore- 
going facts  that  the  principle  remains  unchanged  throughout  in 
every  case.  This  will  be  a  theme  for  illustration  later  by  stripping 
some  of  our  ornamental  letters  of  their  decorative  trimmings  and 
dress,  leaving  the  basic  principle  of  each  case  in  practically  its  naked 
superstructure. 


To  begin  at  the  beginning,  take  the  plain  Gothic  upper  or  lower 
case,  arranged  in  its  most  simple  form  (Plates  100  to  103),  drawn 
with  a  fine  pencil  line,  and,  if  correctly  arranged,  you  will  have  the 
superstructure  of  any  alphabet  you  wish  to  build.  If  you  reverse 
the  operation,  choose  any  standard  plain  or  fancy  alphabet,  whether 
printed,  engraved  or  hand-made,  with  either  brush,  pen,  pencil  or 
engraver's  tool,  trace  each  letter  over  with  a  pencil,  in  a  hairline 
Gothic  letter,  the  result  will  demonstrate  the  above  to  be  correct. 

This  idea  will  make  the  study  of  an  alphabet  a  one-two-three 
by  rule-and-principle  proposition.  Any  time  you  see  or  hear  of  a 
"new  alphabet,"  to  learn  it  thoroughly  simply  take  its  clothes  off, 
strip  it  down  to  naked  principle ;  don't  try  to  study  or  familiarize 
yourself  with  the  "new  alphabet"  from  outward  appearance  alone. 
That  is  a  rather  confusing  problem  somewhat  similar  to  figuring 
an  interest  problem  while  not  knowing  simple  addition,  unless  you 
happen  to  be  a  freak  or  genius,  which  amounts  to  the  same  thing. 

To  familiarize  yourself  with  an  alphabet  classify  it  as  either 
Gothic,  Roman,  Text  or  Italic.  Then  locate  the  principle;  then 
study  its  most  apparent  modification.  In  what  particular  does  it 
differ  from  any  other  you  have  tried  or  seen? 

1.  Comparative  thickness  of  strokes  and  their  relation  each  to 
the  other  throughout. 

2.  Treatment  of  curved  lines :     Are  they  circular,  oval,  elon- 
gated, condensed,  or  are  angles  substituted  for  curves  in  general? 

3.  General  spacing  arrangement,  whether  equal  or  unequal. 

4.  General  slant. 

5.  Method  of  finishing  strokes,  whether  sharp  or  blunt  spurs, 
blocks,  curves  or  compound  strokes. 


15 


LETTERING  FOR  COMMERCIAL  PURPOSES 


6.  The  length  of  extended  letters  above  and  below  top  and  base 
line. 

If  these  points  are  carefully  determined,  what  tool,  brush  or  pen 
lends  itself  most  readily  to  the  construction,  whether  single  or 
double  strokes  or  outline? 

Unless  you  are  "eye-minded"  or  a  natural  talent  genius,  you  may 
as  well  make  up  your  mind  to  go  into  these  details  in  an  analytical 
manner,  get  down  to  the  ground,  and  come  into  camp  by  the  beaten 
trail. 

Short  cuts  are  usually  disastrous  to  results.  Systematic  study, 
intelligent,  persistent  practice,  with  due  regard  for  basic  principle 
at  all  times,  will  show  good  results. 

It's  not  how  many  sheets  of  paper  you  cover  that  constitutes 
practice,  as  indiscriminate  practice  will  land  you  in  the  great  no- 
where, and  it  is  usually  a  case  of  crawl  back  to  where  you  started 
or  accept  defeat. 

Regarding  what  tools,  colors,  brushes,  pens,  etc.,  had  best  be 
used  in  this  work,  most  every  workman  has  his  pet  ideas.  We  will 
touch  on  that  matter  later,  but  for  the  present  in  a  general  way  we 
will  call  attention  to  the  method  of  using  the  tools  rather  than 
to  the  tools  themselves. 

In  a  previous  chapter  was  presented  a  descriptive  plate  of 
elementary  principles  using  the  Gothic,  Roman,  Italic  and  Text 
letters  to  illustrate  their  combinations. 

It  will  be  well  to  use  this  plate  for  future  reference  in  analyzing 
and  studying  the  various  alphabets  that  will  appear  throughout 
this  series.  The  primary  elements  are  used  merely  as  a  starting 
point,  their  modifications  in  constructing  different  letters  belonging 
to  any  series  of  alphabets  must  bear  a  certain  relation  throughout. 
For  instance,  the  letter  "O"  is  an  "O"  whether  it  is  round,  square, 
oval,  square  cornered,  even  width  strokes  throughout,  accented  or 
formed  with  varying  degrees  of  thickness.  In  all  cases  it  will  be 
well  to  remember  that  any  of  the  above  characteristics  applied  to 
any  letter  must  be  observed  throughout  the  entire  alphabet,  as 
above  stated,  in  their  proper  relation.  This  feature  then  changes 


the  appearance  of  the  entire  alphabet,  always  bearing  in  mind  that 
a  mixture  of  modifications  produces  a  mongrel  alphabet,  which, 
from  a  professional  or  artistic  point  of  view,  will  not  be  tolerated. 
Taking  the  ordinary  plain  Gothic  letter  without  the  serifs,  com- 
monly called  spurs,  spurs,  thick  and  thin  strokes,  etc.,  we  have 
rather  an  uninteresting  subject  to  start  with,  yet  it  is  by  far  one.  of 
the  most  difficult  to  execute.  The  very  fact  of  its  plain  appearance 
and  simplicity  of  mechanical  construction  renders  defects  glaringly 
apparent,  yet  this  alphabet  can  be  juggled  with  in  more  ways  than 
any  other,  except  Roman,  providing  the  modifications  hold  together 
in  contour  and  arrangement. 

A  rather  striking  argument  in  favor  of  the  greater  use  of  this 
letter  is  its  forceful  appearance  in  the  so-called  modern  "poster 
ads"  and  hand-lettered  advertisements  now  so  popular  in  all  depart- 
ments of  publicity. 

What  has  heretofore  made  this  series  of  alphabets  seem  com- 
monplace was  indifferent  composition  or  layout.  To  be  really  effec- 
tive it  is  essential  that  the  lettering  should  be  massed  in  some 
geometric  shape  or  decorative  manner  in  such  a  way  that  it  be- 
comes part  of  the  whole  design.  A  haphazard,  catch-as-can  layout 
or  arrangement  of  any  style  lettering  is  worse  than  useless  as  a 
show  card. 

The  modern  display  card  writer  is  outgrowing  the  antics  for- 
merly indulged  ,in,  such  as  scrolls,  swipes,  curlycues  and  abortive 
attempts  at  decoration.  Simplicity  is  now  paramount.  A  display 
card  must  create  an  impression,  but  the  main  object  is  to  catch 
and  hold  the  eye,  then  deliver  the  sales  message  in  the  most  concise 
form. 

In  Plates  120,  121,  U  and  V  we  have  four  characteristic  modi- 
fications of  the  Gothic  letter,  each  with  its  own  peculiarity.  Gener- 
ally speaking,  an  alphabet  arranged  in  A  B  C  rotation  is  an 
uninteresting,  inanimate  object  which  conveys  no  meaning,  be  it 
either  good,  bad  or  indifferent.  Its  merits  or  demerits  are  only 
apparent  where  arranged  in  words,  sentences,  paragraphs  and 
pages. 


16 


CHAPTER  IV 


Brushes  and  Pens  for  Lettering 


PLATE  A 

THE  first  attempt  at  manipulating  a  lettering  brush  is  prac- 
tically certain  to  produce  a  series  of  discouraging  results. 
Unlike  ordinary  pens  or  a  pencil,  which  requires  pressure  to 
produce  any  difference  in  width  of  stroke,  a  brush  will  respond  to 
the  slightest  pressure,  causing  a  varying  width  or  unevenness  of 
edges  which  necessitates  subsequent  patching,  trimming  and  round- 
ing out  of  elementary  curves,  ovals  or  circles.  It  requires  consider- 
able practice  and  experiment  with  a  brush  merely  to  determine 
what  it  will  do  or  how  it  will  act  under  varying  circumstances. 
It  is  more  difficult  to  patch  up  a  series  of  badly  modeled  letters 
than  to  produce  perfect  ones  made  under  the  right  circumstances 
with  proper  materials  and  correct  manipulation  in  the  first  place. 


PLATE  B 

Note,  as  the  methods  and  materials  employed  by  sign  painters 
and  show  card  writers  are  widely  different,  we  are  not  considering 
methods  and  materials  of  sign  painters  in  this  particular  instance, 
but  those  of  the  show  card  writer,  commercial  artist,  etc. 

Most  beginners  attempt  to  manipulate  a  brush  in  much  the  same 
manner  as  a  pen  or  pencil,  principally  as  regards  the  position  of 
holding,  i.  e.,  using  the  thumb,  first  and  second  fingers,  holding  the 
brush  on  an  angle  of  approximately  a  45-degree  slant. 

This  will  work  out  satisfactorily  only  up  to  a  certain  point, 
namely,  the  production  of  vertical  or  horizontal  straight  lines.  It 
will  prove  almost  impossible  to  produce  even  width,  single  strokes 
in  rounding  curves  on  any  oval  or  circular  element  with  the  brush 


17 


LETTERING  FOR  COMMERCIAL  PURPOSES 


Normal  positions  of  holding"  a  flat  marking-  or 
rottnd-writingf  pen  ia  making"  Single-stroke  or 
SKow-cardwriter's  Roman  letters  and  Italics  - 

Vertical      Slant  or  Italic 

lAOSCIL    'IL1OS201VC 
Position  *  1      ^Position 


held  on  the  angle  of  slant  above  noted.  To  overcome  this  difficulty 
the  operator  should  accustom  himself  to  holding  the  brush  in  a 
nearly  vertical  (straight  up)  position  between  the  thumb  and  index 
finger,  using  the  second,  third  and  fourth  fingers  as  a  sliding  brace 
and  rest  for  the  hand.  See  Plate  A,  also  Plates  105,  106  and  107. 

This  position  will  seem  rather  awkward  at  first  trial,  but  subse- 
quent results  will  prove  to  be  more  satisfactory  in  that  this  manner 
of  holding  the  brush  allows  better  action  by  rolling  the  brush  be- 
tween the  thumb  and  index  finger,  a  uniform  width  stroke  can  be 
made  on  any  part  of  circular  or  oval  elements,  also  gives  better 
control  in  adding  thin  line  horizontals  in  cross  lines,  top  and  base 
serifs,  etc.  Likewise  it  admits  of  more  speed,  being  a  short  hold- 
close  down  to  the  heel  of  the  hair  on  the  ferrule. 

Brushes  having  metal  ferrules  usually  require  too  much  grip- 
ping power  in  holding,  which  interferes  with  freedom  of  arm  and 


1  25  4,  5  6 

I  A~C  )  S 


T^iim bercd  Elements  oF 
Single- stroke^, /urns} 
Gothic  letters  and  a 
side  view  of  correct 
brush-holding"  posif  1011. 
Notice-  nearly  vertical 
position  of  brush. — 
which  is  held  between 
the  thumb  and   index 
finger,  this  position, 
permits  the  necessary^ 
twist  or  roll  of  tke  brush 
in.  rounding  curves. 

Plate 


1O5 


finger  action.  Such  brushes  should  have  the  ferrules  wrapped  with 
waxed  thread  or  a  series  of  nicks  filed  thereon  to  prevent  slipping 
between  the  fingers. 

Lettering  brushes  should  be  of  the  best  quality  red  sable,  com- 
monly called  riggers.  They  have  round  ferrules,  but  the  hair  can 
be  worked  to  a  flat  chisel  edge  in  the  color  on  a  palette  of  card 
board  before  beginning  actual  operation.  This  flat  chisel  edge  per- 
mits of  drawing  either  broad,  bold  strokes  on  the  verticals  and  fine 
lines  on  the  horizontals  and  down  strokes  from  right  to  left,  such 
as  are  used  in  producing  the  elements  of  a  single  stroke  Roman, 
Text  or  Italic  character.  In  fact,  a  brush  of  this  nature  should  pro- 
duce identically  the  same  elements  as  a  flat  marking,  or  any  pen 
of  the  stub  variety,  in  an  automatic  manner,  the  only  difference 
being  that  the  method  of  holding  the  brush  nearly  vertical  permits 
of  even  width  oval  strokes  by  rolling  between  the  thumb  and  index 


18 


LETTERING  FOR  COMMERCIAL  PURPOSES 


5        o 


7 


5         10      11          12     13 


\-OS2lll 


N.umbcrcd  elements  of  Sing-lc- 
strokc  Roman  letters   and    a 
top  view  of  hand   holding  the 
brush  hi  correct   normal  position 
lor   makiiiq   the  strokes 


Plate 


finger  in  making  Gothic  letters  or  Bold  Roman  styles,  which  is 
impossible  to  do  with  a  chisel  edge  pen. 

To  offset  this  difficulty  a  pen,  called  the  Speedball  broad  stroke, 
has  been  devised  to  produce  an  even  width  line  of  uniform  thick- 
ness when  drawn  in  any  direction.  These  pens  are  furnished  with 
a  bent-up  section  of  the  tip ;  some  are  square  and  some  round. 
Plates  109  and  110  illustrate  the  normal  positions  of  the  hand  in 
operating  the  square  point  pens.  The  round  points  may  be  operated 
in  any  position,  providing  the  bent-up  section  of  the  tip  is  kept  in 
flat  contact  with  the  writing  surface.  The  Payzant  .pen  is  also  a 
wonderful  broad  stroke  lettering  and  drawing  device. 

Plate  104  indicates  the  two  normal  positions  of  holding  and 
operating  a  lettering  pen  of  the  flat  marking  or  stub  variety,  of 
which  there  are  several  kinds  of  makes  admirably  suited  to  draw- 


Top  view  of  position  of 
holding  brush,  as  shown 
in  side  view   PLATE   IO5. 
Also  shows  the  different 
degrees  of  curve  in  the 
oval  elements  of  Gothic 
letters.     Fig.    5  and    6.- 


PLATE    107 


ing  the  elements  of  single  stroke  Roman,  Italic,  Text  and  round 
writing  in  a  semi-automatic  manner. 

Of  these  best  adapted  to  the  purpose  are  Hunt's  "No.  400  Line,"' 
in  eleven  sizes,  the  Sonnecken  (of  German  manufacture)  in  different 
sizes,  the  automatic  shading  pen  and  several  others  of  a  like  char- 
acter, all  devised  and  manufactured  for  the  express  purposes  of 
certain  styles  of  lettering. 

The  latest  addition  to  the  tools  of  the  lettercrafter  is  the  "Rom- 
italic"  pens,  so  named  as  being  particularly  adapted  to  producing 
the  elementary  principles  of  Roman  and  Italic  modern  classic  styles 
having  graded  thickness  of  strokes  and  hairline  elements.  Examples 
of  the  work  of  most  all  the  above-mentioned  tools  are  shown  as 
indicated  elsewhere  within  these  pages. 

In  regard  to  the  purchase  of  materials  adapted  to  this  work, 


19 


LETTERING  FOR  COMMERCIAL  PURPOSES 


fosition  of  trusk  in, 
drawingf  Korrz.ontal 
elements  of  GotJaic 
letters 


PLATE    IO8 

personal  experience  prompts  the  writer  to  suggest  that  cheap  ma- 
terials are  by  far  the  most  expensive  in  the  long  run.  Not  alone 
in  the  repeated  experimental  cost  is  this  most  apparent,  but  in  the 
quality  of  work  possible  with  cheap  brushes  and  colors,  "amateur 
outfits,"  etc.,  which  are  simply  made  to  sell. 


Square  foster  Gothic-  Plain*  Serif ed 

=  ////\\\\OSC  11  TOIL  1!8 


Position 

of  holding 
"Style  A" 
Square  point 
Speed  ball  pen. 


These  pens  are 
particularly  ad- 
apted to  making 
bold,  heavy- face 
display  lettering 
in  condensed  or 
close  packed  space 


PLATE  109 


Show  card  writers  and  letterers'  supply  houses  are  logically 
the  best  places  to  purchase  equipment.  They  carry  a  line  of  ma- 
terials that  bears  the  stamp  of  professional  approval  and  may  be 
relied  upon  to  perform  their  mission  if  properly  handled.  A  list  of 
these  supply  houses  is  published  monthly  in  SIGNS  OF  THE  TIMES. 


20 


LETTERING  FOR  COMMERCIAL  PURPOSES 


Rugged  Bold-face  display  type 


=///\\\:  n  n  d  box  *T 


m 


Second 
Position 

of  holding  the 

"Style  A" 

Square  point 

Speedball 

Lettering  Pen. 


Practice  on  these  elements  vv'ith  vigorous 
free-hand   single-strokes,  use  a    10  Rigger  brush 

1/V©  S 

I1SUGS 

nca  mnzxv 


111        Originals    11  *  14-inch  Cards 


21 


LETTERING  FOR  COMMERCIAL  PURPOSES 

Showing' lioxo   fkc  different  normal  positions   of  holding-  a  brush  or  lettering' pen    will 
irrvpose   different  characteristics   on   tire  same    letters.       Starting'  a.  lower  case 
Roma.n  letter    in   position  ^1.    insures   an  angailar.  spikey  shape    top   on  the  ver- 
tical elements,     Changfincr  to   position.  *2.     produces     horizontal   spikey   tops 
as    well   as    horizontal    terminal    base  line   serifs,  and    cross  lines  are  also  horizontal 


ab  cdef g*hij  kl  m 

Accent  appears  on.  upper  rigitt  and  lower  left 
sides  of  oval  elements  as  indicated  bt?  line 
on  ancrle  ihrou^k  oval 


Fbsition  1 


abcdefghijMm 

Accent  appears  on  horrzontal  center  ol" 
all    oval  elements  as    indicated  bj;    line 
oval 


Plate  112 

22 


Fbsitiorr   2. 


CHAPTER  V 


The  Potentiality  of  a  Show  Card  Writer's  Brush 


THERE  is  an  old  saying,  "You  can  lead  a  horse  to  water  but 
you  can't  make  him  drink."  Likewise  you  can  lead  a  brush 
to  a  pot  of  paint,  but  you  can't  make  it  work.  Your  first  duty 
to  yourself  when  attempting  a  certain  style  of  letter  is  to  deter- 
mine just  what  kind  of  a  brush  is  best  adapted  to  producing  its 
elementary  strokes  in  as  nearly  an  automatic  manner  as  possible. 

By  careful  experiment  you  will  find  that  a  vast  amount  of  effort 
is  expended  uselessly  in  struggling  with  a  brush  that  is  ill  adapted 
to  the  particular  style  of  letter  you  wish  to  make,  especially  if  you 
are  addicted  to  the  "hairline"  habit ;  by  this  is  meant  making  large 
or  medium  size  letters  using  a  mixture  of  heavy  strokes  and  hair 
lines  with  sharp  spur  terminals. 

For  the  most  logical  reasons  it  is  best  to  cure  yourself  of  the 
hairline  habit.  If  a  customer  does  not  specifically  indicate  that  that 
particular  style  is  wanted,  do  not  use  it. 

First,  unless  it  is  extremely  well  made  and  carefully  finished,  it 
is  not  good  to  look  at.  Next,  it  consumes  too  much  time  in  the 
making.  Furthermore,  one  has  to  stick  too  closely  to  engraved 
styles,  thereby  displaying  a  lack  of  individuality ;  and  lastly,  it  is 
not  as  readable  as  the  various  bold  face  styles  which  are  becoming 
more  popular  with  publicity  experts. 

Now,  do  not  get  the  idea  by  the  foregoing  that  a  good  single 
stroke  Roman,  made  either  with  a  pen  or  a  brush,  is  belittled,  for 
those  styles  are  considered  among  the  most  beautiful  of  all  alpha- 
bets for  certain  purposes,  but  when  you  attempt  anything  larger 
than  a  half  sheet  they  do  not  carry  enough  weight ;  consequently 
the  hair  lines  must  be  thicker  to  impart  legibility  and  the  spurs 
made  correspondingly  heavier. 


The  main  difficulty  with  most  letterers  is  in  trying  to  make  a 
small  brush  do  the  work  of  a  large  one.  It  is  by  far  an  easier  stunt 
to  work  a  No.  12  or  No.  15  brush  down  to  a  point  size  of  a  No..  8  or 
No.  10  than  to  spread  a  No.  5  or  No.  8  up  to  a  larger  size.  The  more 
color  you  can  carry  in  a  brush  and  still  keep  the  point  properly 
chiseled,  the  easier  it  is  to  make  a  clean-cut  letter. 

By  flooding  the  color  on  heavy  in  quick,  even  strokes  you  will 
find  the  formation  of  letters  much  easier  than  spreading  the  color 
on  thin,  then  smoothing  it  out  carefully  on  the  terminals.  The 
finishing  up  process  soon  becomes  automatic  in  action ;  thereby  the 
speed  is  multiplied.  Too  much  can  not  be  said  in  regard  to  the 
proper  holding  of  a  brush. 

As  illustrated  in  a  previous  chapter,  the  brush  should  be  held 
nearly  perpendicular  between  thumb  and  index  finger.  Forget 
you  have  a  second  finger  when  using  a  brush.  Hold  as  close  down 
to  the  hair  as  possible,  and  do  not  use  a  brush  with  hair  longer  than 
three-fourths  to  seven-eights  inch.  The  closer  your  fingers  are  to 
the  work  the  less  lost  motion. 

Never  use  a  bridge  or  rest  the  brush  hand  on  the  other  hand. 
This  method  is  for  sign  writing  only,  and  no  great  amount  of  speed 
can  be  attained  in  that  way  by  the  card  writer.  If  you  learned  that 
way,  so  did  many  others,  but  had  to  learn  all  over  again  before 
they  could  hold  down  a  shop  job  and  make  money  for  the  boss. 

Do  not  use  flat  ferrule  brushes.  Never  use  fan-shaped  chisel 
brushes.  Genuine  red  sable  hair  is  thick  in  the  middle  and  fine  at 
both  ends.  Good  brushes  have  a  belly  midway  between  the  tip  and 
ferrule ;  they  will  hold  an  edge  better  and  are  not  so  apt  to  split. 

Never  trim  a  brush  with  scissors  or  knife.    If  it  requires  trim- 


23 


LETTERING  FOR  COMMERCIAL  PURPOSES 


Constructive  Strokes  of  the 


tke  size  of  letters    is  too  large  for  single-stroke   construction    tke   outline- 
modeled   method    may   be  used  as  indicated   by   the  skeleton  letters  lierc  sHovun. 


IMNOPQRSTU 

VWXVWX1 


Plate    113 


Plate 


ming,  lay  the  tip  over  the  edge  of  a  card  "and  file  the  ends  with 
emery  paper. 

As  this  subject  constitutes  one  of  the  main  difficulties  encoun- 
tered in  lettering,  we  will  go  a  little  further  into  the  proposition. 
It  is  usually  a  source  of  wonder  to  the  amateur  to  watch  a  pro- 
ficient workman  handle  a  job  of  lettering. 

If  the  beginner  or  amateur  would  pay  a  little  more  attention 
to  the  manipulation  of  the  brush,  than  to  the  formation  of  each  indi- 
vidual letter,  he  might  learn  something  that  would  be  of  more 
benefit. 

The  first  thing  that  strikes  the  beginner  when  attempting  brush 
strokes  is  the  seeming  unreliability  of  the  brush.  The  absence  of 
the  feel  of  touch  or  contact  with  the  marking  surface  is  confusing. 
The  inability  to  keep  the  tip  in  proper  shape  and  width  is  additional 
trouble.  All  this  results  in  a  wavering  uncertainty  of  lines,  different 
degrees  of  thickness,  which  necessitates  retouching  and  patch- 
ing up. 

The  more  a  letter  is  doctored  the  worse  it  looks.  The  lines  can 
be  thickened  up  but  never  thinned  down ;  consequently  in  patching 
the  thinnest  elements  of  a  letter  it  naturally  thickens  up,  throwing 
the  whole  composition  out  of  shape. 

The  most  logical  way  to  overcome  this  difficulty  is  to  use  a 
brush  that  when  properly  filled  with  color  will  make  a  stroke  equal 
in  width  to  the  thinnest  element  which  appears  in  the  letter  or 
alphabet.  The  heavier  elements  can  be  made  by  doubling  up  the 
width  of  the  strokes;  meaning,  two  strokes  side  by  side  without 
imposing  the  second  stroke  on  the  first.  (The  method,  of  course, 
does  not  apply  to  outlining  the  letters  and  subsequently  filling 
them  in.)  Unless  on  extremely  large  letters  the  outline  method 
consumes  too  much  time. 

With  the  proper  amount  of  intelligent  practice  it  will  be  found 
much  easier  and  faster  to  build  up  a  letter  than  to  first  outline  and 
then  fill  it  in. 

Taking  the  conception  of  the  average  artist  for  formation  or 
drawing  of  any  subject,  it  will  be  found  that  he  usually  models  or 


24 


LETTERING  FOR  COMMERCIAL  PURPOSES 


builds  up  a  rough  mass  or  diagram  of  the  entire  structure  much 
in  the  same  manner  that  a  sculptor  first  works  up  a  crude  resem- 
blance to  the  subject  in  its  entirety  as  a  mass  composition.  After 
the  finishing  touches  have  been  completed  correctly,  it  will  be 
found  that  each  component  part  has  the  proper  relationship  to 
the  whole  design. 

The  main  reason  the  average  letterer  fails  to  get  at  the  correct 
balance  and  pleasing  appearance  to  the  finished  product  lies  in  the 
fact  that  he  tries  to  build  each  individual  letter  as  a  perfect  unit  in 
itself,  regardless  of  its  relationship  to  the  neighboring  units  or 
letters  as  a  word,  sentence,  paragraph  or  whole  design,  or  part  and 
parcel  of  a  whole  design  which  may  include  other  units,  either  in 
the  shape  of  illustrations,  decorations  or  borders. 

In  Chapter  9  attention  is  called  to  general  arrangement  and  the 
laws  governing  the  same.  A  letterer  may  be  able  to  make  every 
alphabet  known  to  the  English-speaking  people  and  make  each  and 
every  letter  perfectly  according  to  the  accepted  standard  as 
adopted  by  draftsmen  and  type  experts  and  still  have  his  work 
turned  down  solely  through  lack  of  finished  appearance.  I  have 
repeatedly  heard  sign  painters,  show  card  writers,  commercial 
artists  and  draftsmen  criticize  a  piece  of  work  by  pointing  out  the 
defects  in  certain  letters,  while,  as  a  matter  of  fact,  for  general 
appearance,  punch,  kick  and  attractiveness,  the  subject  of  their 
criticism  was  probably  beyond  their  comprehension  or  ability. 

Lettering  has  always  been  considered  a  minor  art,  particularly 
so  by  artists  and  art  instructors.  It  has  been  taught  as  such  in  insti- 
tutions of  learning,  principally  from  the  viewpoint  of  draftsman- 
ship. Taught  in  this  manner,  lettering  never  gets  the  student  any 


further  than  the  ability  to  reproduce  the  stiff,  dead  draft  of  an 
inanimate  object,  lacking  in  grace,  beauty  and  composition. 

Today,  however,  both  instructors  and  students  are  looking 
deeper  into  the  subject,  not  from  curiosity  alone,  but  from  a  realiza- 
tion of  the  fact  that  there  is  a  growing  demand  for  better  work 
along  these  lines.  New  fields  of  endeavor  are  being  opened  up  in 
all  departments  of  publicity. 

That  lettering  plays  a  most  important  part  in  this  scheme  is 
evidenced  by  the  demand  for  individual  and  characteristic  styles  of 
hand  lettering  in  all  display  advertising  matter. 

A  glance  through  the  pages  of  our  leading  periodicals  will  show 
that  where  type  set-ups  were  almost  exclusively  used  in  display  ad 
matter  in  the  past,  hand  lettering  is  now1  universally  accepted  as 
the  "real  big  punch"  as  a  selling  factor.  Why?  It  is  not  as  mechani- 
cally perfect  as  type.  It  costs  more,  and  in  many  instances  it  is  not 
as  legible.  Many  of  the  characters  used  are  not  as  familiar,  to  the 
eye  as  type  faces.  There  must  be  good  and  sufficient  reason  for 
the  preference  of  hand  lettering  or  reproduction  of  handwork. 

The  subject  of  lettering  is  always  interesting  to  letterers  no 
matter  whether  they  are  sign  or  show  card  men,  designers  or 
daubers.  One  has  only  to  study  the  proportions  pf  this  field  to 
realize  its  magnitude.  Lettering  today  plays  one  of  the  most  impor- 
tant parts  in  the  scheme  of  design  in  poster  art  throughout  conti- 
nental Europe,  England  and  America.  It  is  now  being  seriously 
taken  up  by  many  departments  of  education  throughout  the  world, 
principally  in  vocational  education,  which  branches  are  being  more 
widely  taught. 


25 


LETTERING  FOR  COMMERCIAL  PURPOSES 


Construction 

ncdbb 


kkklmmiiuioop, 

sltum\vw/wx 

wxyyvwAryyzzz 

Plate  115 


26 


CHAPTER  VI 


"First  Principles"  in  Show  Card  Writing 


ABOUT  the  first  alphabet  a  show  card  writer  attempts  to  master 
is  the  ever-popular  single  stroke  Roman.     These  letters  are 
admirably  adapted  to  construction  with  either  lettering  pen 
or  brush.    In  various  modifications  Roman  letters  present  a  series 
of  alphabets  with  which  most  readers  are  thoroughly  familiar. 

The  accented  (heavy)  and  light  lines  are  easily  made.  In  fact, 
the  manipulation  of  flat  chiseled  brushes  or  pens  of  the  stub  variety 
seems  to  conform  to  the  construction  of  the  elements  of  Roman 
letters  automatically — a  broad  down  stroke  and  a  thin  lateral  or 
side  stroke,  broadening  out  on  the  curves  and  ovals  without  any 
further  effort  on  the  part  of  the  operator. 

The  addition  of  the  serifs  or  spurs  is  the  chief  cause  for  loss  of 
speed,  especially  in  adding  sharp  spurs  finish  on  base  alignment 
and  on  tops  of  the  hairline  elements,  which,  to  be  done  properly, 
require  almost  an  additional  operation,  performed  with  a  slight 
roll  or  twist  of  the  pen  or  brush  between  the  fingers.  In  conse- 
quence of  this  it  may  be  noted  that  the  closer  one  attempts  to 
imitate  the  regulation  Roman  the  more  time  is  consumed,  and  like- 
wise it  is  much  more  difficult  to  produce  properly. 

These  drawbacks  have  often  prompted  letterers  to  adopt  modi- 
fications of  the  standard  Roman  letters  that  can  be  executed  with 
greater  rapidity.  In  attempting  anything  like  this,  it  is  well  to 
remember  that  by  changing  any  basic  element  or  principle  on  any 
one  letter  this  characteristic  should  be  followed  throughout  the 
entire  alphabet,  in  order  to  preserve  the  general  appearance.  In  • 
other  words,  it  will  not  do  to  have  a  rounded  spur  or  round  finish 
base  on  one  letter  and  a  straight  base  spur  on  its  neighbor.  Such  a 
treatment  becomes  more  apparent  in  the  finished  production  and 
the  general  appearance  of  the  work  suffers  thereby. 

There  are  probably  about  a  score  of  alphabets  (known  by  their 

27 


trade  names)  that  are  nothing  more  or  less  than  Roman  letters. 
The  apparent  difference  is  only  a  technical  difference  of  treatment 
preserved  in  harmony  throughout.  The  same  applies  to  the  Gothic, 
the  various  Italics,  and  the  Texts,  such  as  Old  English,  German, 
etc.  Therefore,  when  you  see  an  alphabet  that  looks  good,  reads 
well,  and  you  are  desirous  of  learning  it,  do  not  pick  up  a  brush  or 
pen  and  start  practicing  on  it,  for,  unless  you  are  a  genius  the  result 
will  be  far  from  satisfactory. 

First  determine  to  what  series  of  alphabets  it  belongs — Roman, 
Gothic,  Text  or  Italic.  In  what  particular  does  it  differ  from  that 
with  which  you  are  familiar  ?  Is  it  the  general  thickness  of  strokes, 
the  alternate  degree  of  thick  and  thin  lines,  the  smoothness  or 
roughness  of  edges,  the  character  of  the  finish  or  construction  of 
serifs,  the  height  of  extension?  Are  the  letters  all  condensed  or 
extended  ?  Are  the  ovals  of  regular  or  irregular  form  ? 

Compare  any  one  letter  with  one  which  you  know  how  to  make, 
then  determine  with  just  what  kind  of  a  brush  or  pen  the  elemen- 
tary strokes  and  finishes  can  be  most  easily  made,  always  remem- 
bering that  in  hand  lettering  the  chief  characteristics  of  a  letter  are 
occasioned  by  the  tool  with  which  it  is  made.  That  is,  if  the  letter 
is  of  any  value  to  the  letterer  commercially.  By  this  is  meant, 
can  it  be  produced  fast  enough  to  be  of  any  value  in  your  day's 
work  ? 

The  chief  drawback  to  the  letterer  is  struggling  with  imprac- 
tical letters  made  with  the  wrong  tools.  There  are  dozens  of  beau- 
tiful alphabets,  type  faces,  artistic  conceptions  by  individual  artists 
that  are  utterly  worthless  from  the  point  of  view  of  one  who  has 
large  quantities  of  work  to  turn  out  in  a  given  length  of  time,  and 
more  especially  if  the  attempt  at  reproduction  is  made  with  a  tool 
not  adapted  to  either  the  construction  or  finishing  process. 


LETTERING  FOR  COMMERCIAL  PURPOSES 


Single  Stroke  Roman 
abcdefgh  i j  kl  m  nop 
q  r  s  t  u  vaw  &xuy  z  a 

ab  cdefgh  ij  k  Imno 
pqrs  tuvawuxyz. 


Plate  116 

28 


CHAPTER  VII 


Colors  and  Their  Preparation 


THE  question  of  Colors,  their  preparation  and  use,  has  ever 
been  a  perplexing  problem,  even  to  the  initiated.  As  a  matter 
of  fact,  in  these  days  there  are  so  many  prepared  colors  on 
the  market  it  hardly  pays  to  bother  with  mixing,  but  it  may  be 
added  that  the  best  of  ready  colors  require  careful  attention"  to 
keep  them  in  good  working  order.  They  will  evaporate  rapidly 
and  the  constituents  become  separated  if  not  thoroughly  stirred 
up  at  least  once  a  day.  The  pigment  will  settle,  leaving  a  watery, 
non-covering  fluid  on  top.  When  evaporation  takes  place  they  be- 
come gummy. 

A  formula  for  a  white  that  will  work  well  in  both  brush  and  pen 
is  often  sought.  It  can  not  be  done  satisfactorily,  although  the 
same  constituents  are  used  in  both  cases.  Any  white  that  will  cover 
well  from  a  brush  is'  usually  too  heavy  for  pen  work,  especially 
those  of  the  broad  stroke  variety,  and  white  that  is  of  a  sufficient 
fluidity  to  flow  and  cover  in  a  pen  is  too  thin  to  hold  a  brush  to- 
gether and  cover  opaque  in  one  stroke. 

Usually  if  brush  white  is  thinned  to  proper  consistency  for  pen 
use  there  is  bound  to  be  insufficient  pigment  body  to  cover  opaque ; 
therefore,  it  dries  out  streaky  and  transparent  in  spots.  Further- 
more, it  is  extremely  difficult  at  the  present  time  to  get  a  first-class 
quality  of  white,  either  lead,  zinc  or  flake,  at  any  price.  This  is  also 
true  of  many  of  the  colors,  principally  reds,  owing  to  the  scarcity 
of  dyes  used  in  their  preparation. 

I  have  used  an  imported  dry  English  flake  white  with  better  all- 
around  results  than  any  mixture  prepared  in  this  country.  This  is 
extremely  gritty  and  requires  much  grinding,  but  when  all  the 
lumps  and  grit  are  reduced  and  properly  mixed  with  the  binder,  it 


is  certainly  "some  white"  for  either  brush  or  pen.  It  covers  well 
even  when  thin.  It  is  very  heavy  in  pigment  and  must  be  kept 
well  stirred  at  frequent  intervals  or  it  will  settle. 

When  mentioning  being  well  ground  up,  this  does  not  mean 
simply  stirred  up  in  a  can  or  jar  with  a  stick.  It  might  be  stirred 
for  a  month  and  still  be  sandy  and  gritty. 

If  you  have  no  paint  mill  take  about  a  cupful  of  dry  color,  add 
about  a  tablespoon  of  Sanford's  Royal  Crown  mucilage  and  suffi- 
cient water  to  make  a  thick  paste,  add  one-half  teaspoon  of  glycer- 
ine; get  a  slab  of  marble  or  plate  glass,  and  grind  this  mass  on  the 
slab  with  a  spatula,  or  long  flexible  table  knife  blade,  adding  a  few 
drops  of  water  occasionally  when  it  gets  too  heavy  to  grind.  If  you 
exercise  your  muscles  on  this  dope  for  a  couple  of  hours  it  will  be 
smooth  as  cream.  Put  about  one-fourth  of  it  in  a  receptacle  for 
pen  use ;  simply  thin  with  water  and  a  few  drops  of  alcohol  to  the 
proper  consistency,  and  your  pen  white  troubles  will  be  few,  if  this 
preparation  is  kept  well  stirred. 

The  remaining  three-fourths  put  in  another  jar  for  your  brush 
work.  Use  it  a  little  thicker. 

If  you  can  not  get  the  imported  flake  white,  mix  best  quality 
dry  lead,  one-half  pound,  Green  Seal  or  American  zinc,  one  pound. 
Treat  this  in  the  manner  above  mentioned.  If  it  rubs  up  after 
drying,  add  a  few  drops  of  mucilage,  carefully,  as  too  much  will 
render  it  transparent.  Any  other  dry  colors  may  be  mixed  in  the 
same  way. 

Blacks  are  another  question.  There  are  various  brands  of  drop 
black,  ivory  black,  lamp  black,  and  blacks  that  are  simply  dyes. 
Blacks  that  contain  dyes  make  the  best  ink,  as  they  cover  better. 


29 


LETTERING  FOR  COMMERCIAL  PURPOSES 


Lamp  black  is  the  finest  and  is  free  from  grit,  but  it  has  a  grayish 
tone.  If  you  can  procure  water-soluble  nigrosine  dye,  dissolve  it 
in  water  to  thin  your  lamp  black,  add  glycerine  and  mucilage  as  in 
the  white,  and  you  will  have  a  good  covering,  free-flowing  black 
for  either  pen  or  brush  in  the  proper  consistencies.  Or,  mix  lamp 
black  and  Letterine;  this  is  also  good  in  a  pjnch.  But,  as  stated 
before,  any  of  these  mixtures  will  soon  go  out  of  commission  unless 
they  are  kept  moist  and  well  stirred  up. 

The  addition  of  glycerine  helps  to  keep  colors  moist  and  gives 
a  good  pull ;  but  remember,  they  dry  slower,  and  too  much  of  it 
spells  disaster  to  the  covering  and  drying  quality.  The  antidote 
for  water  color  that  dries  too  slowly  is  alcohol. 

Remember  all  these  mixtures  require  personal  experiment,  rea- 
son and  attention,  much  the  same  as  any  chemical  research.  Many 
think  that  simply  throwing  the  ingredients  together  any  old  way 
ought  to  come  out  all  right  and  do  the  work.  If  it  doesn't,  well, 
there  is  something  the  matter  with  the  formula  or  the  ingredients. 
All  I  have  got  to  say  for  them  is,  I'd  hate  to  eat  their  cooking. 

In  buying  dry  colors  it  is  best  to  specify  that  "C.  P."  (chemically 
pure)  colors  are  wanted.  Even  though  the  first  cost  is  higher  they 
are  cheapest  and  best  for  all  purposes  in  the  long  run. 

Everything  pertaining  to  the  tools  of  the  craft,  the  material  in 
the  cards,  the  inks  and  colors,  should  be  studied  for  cause  and 
effect.  Never  condemn  anything  that  fails  to  meet  with  your  ex- 
pectations at  first  trial.  What  may  seem  an  impossibility  today 
may  be  ridiculously  easy  tomorrow  under  different  circumstances. 
There  are  seventeen  hundred  and  six  little  trouble  dodgers  and  time 


savers  in  this  work.    Here  is  the  key  to  every  question — personal 
experiment. 

.  Air  Brush  Colors 

If  you  are  not  satisfied  with  the  prepared  or  ready-to-use  air 
brush  colors,  and  have  the  time  to  prepare  your  own  mixtures,  with 
the  proper  materials  and  some  personal  experiments  a  selection  of 
tints  and  color  blends,  either  waterproof  or  ordinary,  can  be  made 
that  will  be  superior  in  every  way  to  the  average  ready-to-use 
article.  However,  at  the  time  this  is  written  it  is  difficult  to  procure 
dyes  of  reliable  quality  and  the  cost  is  excessive. 

Ad-el-ite  dyes  (Adams  &  Elting's),  either  water  or  spirit  soluble, 
make  excellent  mediums  and  are  extremely  strong  in  coloring  mat- 
ter. For  black,  use  nigrosine  dye. 

For  waterproof  air  brush  inks,  dissolve  sufficient  jspirit  soluble 
dye  (of  any  desired  color)  to  make  desired  shade,  in  a  pint  of  de- 
natured alcohol.  (Wood  alcohol  is  not  desirable  as  it  dries  too 
quickly,  leaving  a  dust  of  color  in  the  air  or  on  the  card.)  Strain 
this  through  a  wad  of  absorbent  cotton  in  a  funnel  into  another 
bottle,  and  add  two  ounces  orange  shellac.  Shake  well  before  using. 

To  clean  after  using,  blow  clear  denatured  alcohol  through  the 
brush,  otherwise  the  shellac  will  gum  up  and  cause  trouble. 

For  ordinary  air  brush  ink  (not  waterproof)  use  water  soluble 
dye  in  the  above  proportion  and  in  the  same  way.  Add  one  ounce 
Sanford's  Royal  Crown  mucilage  to  each  pint  of  dye. 

If  one  desires  to  letter  in  white  or  tints  over  an  air-brushed  sur- 
face it  will  be  necessary  to  use  waterproofed  ink,  otherwise  the 
dye  comes  through  the  color  used. 


30 


LETTERING  FOR  COMMERCIAL  PURPOSES 


ABC  DEF  GHI  JKL  MNO  PR 
QR5  STU  VXY IW  THIN  LINE 


LIGHT  AND   HEAVY   FACE 


123456769$ 


PLATE     117 


31 


LETTERING  FOR  COMMERCIAL  PURPOSES 


32 


LETTERING  FOR  COMMERCIAL  PURPOSES 


Alphabets  related  tothe"Gothic"  letters, 
having  eementary  principles  consisting 
of  uniform  width  strokes  throughout,  to 
which  may  be  added  various  different  sets 
of  finishing  touches.  Spurs  Plugs  or 
other  trimmings,  spacings, etc.  which  may 
serve  to  change  the  general  appearance 
without  altering  the  basic  principles,  a 

i  -»a  °  c          «  -7  I  8       Q 


3 


I  IQ 


33 


LETTERING  FOR  COMMERCIAL  PURPOSES 


GOTHIC  SERIES 
abcdefghijklmnopqrs 

\A  wl    w    ww    Commonly  cdkd  Spurred  Gothic          -^jf  *~* 

A5CDEIGHIJ 

RLMI1  OrQR  STUY  WCTZ 


PLATE     I2O 


34 


CHAPTER  Vlll 


Some  Ideas  for  the  Amateur  in  Show  Card  Writing 


THE  "course  of  instructions"  usually  prescribed  by  teachers  of 
lettering  as  particularly  applied  to  show  card  writing  during 
the  past  decade  has  proven  a  stumbling  block  to  the  beginner 
as  well  as  a  perplexing  proposition  to  the  amateur,  principally 
due  to  the  fact  that  it  has  not  applied  solely  to  show  card  writing 
as  it  should  be  as  an  individual  art,  but  to  sign  painting  and  letter- 
ing collectively. 

Let  it  be  understood  thoroughly  that  in  no  sense  is  sign  paint- 
ing allied  with  show  card  writing.  The  basic  principles  of  produc- 
tion are  totally  unlike.  The  methods  are  entirely  different,  other- 
wise than  both  trades  or  arts  make  use  of  the  same  reading  char- 
acters most  easily  read  by  the  people  of  any  nation  or  community. 

This  does  not  associate  the  two  trades  or  arts  any  more  closely 
than  that  of  the  copper  or  steel  plate  engraver  with  the  lithographer 
or  printer,  otherwise  than  they  both  make  use  of  the  same  char- 
acters and  alphabets. 

One  would  not  directly  associate  a  locomotive  driver  with  a 
marine  engineer.  One  may  be  unable  to  perform  the  duties  of  the 
other.  The  same  idea  prevails  even  more  strongly  that  a  sign 
painter  must  of  necessity  be  a  show  card  writer  or  vice  versa,  and 
that  the  ability  to  letter  produces  a  combination  of  the  two  trades. 
Consequently  the  average  course  of  instructions  embodies  just 
enough  invaluable  information,  rules,  whys  and  wherefores  that 
apply  in  a  general  way  to  the  formation  of  letters,  the  tools  to  be 
used,  the  methods  of  reproduction,  etc.,  tending  to  the  idea  that  a 
show  card  writer  must  or  should  be  a  happy  combination  of  all- 
around  letterer  in  every  trade  that  makes  use  of  A  B  C's. 


The  usual  result  is  an  unhappy  combination  of  ability  that  is, 
in  fact,  neither  one  or  the  other  so  far  as  being  able  to  successfully 
fill  the  position  or  do  the  work  of  either  a  show  card  writer  or  sign 
painter. 

The  average  sign  painter  is  rarely  able  to  make  a  good  show 
card.  The  methods  are  widely  different.  The  card  made  by  a  sign 
artist  is  usually  a  sign  card.  It  looks  like  a  sign.  The  lettering  and 
layout  have  the  general  appearance  of  a  sign  and  that's  what  it  is. 
On  the  other  hand,  there  are  few  show  card  men  that  could  hold 
down  a  job  in  a  commercial  sign  shop. 

Unless  a  person  is  endowed  with  natural  talent  and  versatility 
it  is  a  waste  of  energy  to  try  to  cover  the  entire  field  involving 
lettercraft.  If  you  intend  to  become  a  finished  workman  in  any  par- 
ticular field  apply  all  your  energy  to  that  one  branch  and  stick  to  it. 
Forget  that  big  idea  of  knowing  it  all.  Sidetrack  everything  per- 
taining to  generalities.  Get  a  correct  idea  of  just  exactly  what  end 
you  are  working  for,  what  you  have  to  produce,  reproduce,  and 
how  to  get  at  it  and  finish  in  the  best  possible  manner  with  the  least 
degree  of  effort.  The  generalizing  of  ideas  is  a  bog  hole  that 
should  be  given  a  wide  berth.  Don't  get  the  idea  that  perfect  letter- 
ing constitutes  the  main  feature  of  what  is  generally  conceded  to 
be  first-class  work. 

There  are  many  good  letterers  amongst  the  fraternity  whose 
work  lacks  the  general  appearance  in  the  finished  production  of 
their  less  fortunate  co-worker,  so  far  as  analysis  of  letters  is  con- 
cerned. Their  work  is  too  good.  It  always  looks  the  same  whether 
the  card  pertains  to  fresh  pork  chops  or  blue  white  diamonds.  The 


35 


LETTERING  FOR  COMMERCIAL  PURPOSES 


full  ffound  Ovals.  Condensed  Verticals.  [  fytkic  Variation?) 


J  KLfin 


abcdef^h  ij  kl  m  no 

pq  r 


PLATE     121 


36 


LETTERING  FOR  COMMERCIAL  PURPOSES 


minute  you  spy  the  card  you  see  the  ear-marks  of  the  fellow  who 
made  it.  It  lacks  the  "kick"  which  really  constitutes  the  value  of 
any  display  advertising,  illustrated  or  otherwise. 

Moral :    Put  the  punch  in  the  arrangement,  not  in  the  lettering. 

Cultivate  a  certain  individuality  in  your  work,  but  remember 
that  even  if  you  are  partial  to  a  certain  style  of  layout  or  make  of 
alphabet  it  may  not  fit  the  subject  as  well  as  something  different 
in  displaying  the  varied  articles  that  require  the  use  of  special  effort 
in  salesmanship  to  get  the  other  fellow's  money.  This  subject  re- 
quires considerable  study  and  thought.  Much  valuable  information 
may  be  obtained  by  observing  and  studying  the  more  modern  styles 
and  display  methods  shown  in  magazine  and  newspaper  advertising, 
movie  slides,  car  cards,  etc. 

I  would  suggest  that  for  practice  in  layout  you  take  the  copies 
of  ads  such  as  appear  in  the  high-class  periodicals,  and  select  such 
matter  therefrom  as  will  make  a  good  reader.  Try  a  pencil  layout 
of  the  same  wording  in  different  forms  of  arrangement.  Study 
which  reads  the  most  readily  and  conveys  the  same  message  in  a 
pleasing  and  interesting  manner.  Familiarize  yourself  with  the 
proper  way  to  divide  up  the  main  points,  the  heading,  the  para- 
graphs, the  sentences  and  the  price. 

Get  away  from  that  old  cut  and  dried  idea  that  "big  lettering" 
is  what  the  people  want.  The  majority  of  people  think  only  as  the 
other  fellow  thinks. 

Lettering  is  only  as  big  as  you  can  make  it  look,  and  if  you  fill 
up  the  card  with  big  lettering  there  will  be  no  contrasty  effect. 
Contrast  is  really  what  constitutes  size  in  appearance.  A  big  man 
looks  larger  when  in  small  company.  The  smaller  the  company,  the 
bigger  he  looks.  The  same  with  lettering. 

Now,  regarding  lettering,  naturally  the  first  thing  a  beginner 
thinks  of  is  alphabets.  Something  very  mysterious  about  the  alpha- 
bets. To  the  one  who  has  not  taken  the  time  to  consider  basic 
principles,  every  alphabet  is  a  different  proposition  because  it  looks 
different.  Never  in  the  wide,  wide  world  can  one  become  a  letterer 
until  he  first  thoroughly  understands  that  all  alphabets  used  by  the 


English-speaking  people  are  based  on  one  identical  principle  which 
has  been  in  use  for  ages.  It  has  never  changed  and  probably  never 
will  change. 

With  slight  modifications  you  can  trace  this  basic  principle 
through  every  alphabet  ever  designed.  The  only  difference  is  in 
the  classification  and  the  different  treatments,  embellishments,  shad- 
ings,  difference  in  width  of  certain  strokes,  spacings-,  etc.  Anyone 
who  fails  to  get  these  first  principles  thoroughly  fixed  in  his  mind 
has  the  wrong  start.  Different  styles  of  alphabets  that  are  accepted 
as  correct  are  not  the  result  of  brainstorms  like  many  of  the  illus- 
trations we  see  today. 

Many  of  the  most  popular  alphabets  we  are  familiar  with  are 
the  result  of  careful  study  of  design.  They  may  represent  the 
work  of  years  to  bring  to  perfection.  They  are  thoroughbreds; 
every  stroke  bears  the  proper  relation  to  its  neighbor,  and  the 
finished  production  has  to  bear  the  stamp  of  approval  not  only  of 
the  artist  and  draftsman,  but  of  the  type  founder,  the  printer,  the 
engraver,  and  of  the  English-speaking  people,  who,  by  the  way,  are 
very  critical. 

Almost  any  schoolboy  can  instantly  detect  a  letter  that  is  wrong 
in  a  page  of  reading  matter  belonging  to  any  particular  series  of 
letters.  He  may  not  be  able  to  tell  what  is  wrong,  but  it  is  not 
right.  It  throws  the  word  out  of  joint  to  the  sight,  much  the  same 
as  a  discord  shocks  the  hearing.  We  can  all  detect  an  upper  case 
letter  amongst  lower.  It  does  not  belong  in  the  middle  of  a  word. 
Likewise  the  printer  can  detect  a  mixture  of  type  faces  by  the  feel 
of  it. 

I  would  advise  all  beginners,  amateurs  (and  many  of  the  pro- 
fessionals) to  go  to  the  public  libraries  and  peruse  some  of  the 
authorities  on  lettering,  ancient  and  modern.  Forget  alphabets  for 
awhile,  at  least  until  you  have  formulated  some  idea  of  what  you 
are  really  aiming  at  by  classification.  This  may  give  you  a  start  in 
the  right  direction,  for,  from  the  appearance  of  some  of  the  work 
we  have  been  offered  for  criticism,  the  producer  must  be  working 
without  any  definite  object  in  view. 


37 


.    LETTERING  FOR  COMMERCIAL  PURPOSES 


THE   MOST 

PLEAS  I  NO 

MARGIN 

also    the   most 

«ffactiv«   in 

arrangement 
is    to  have    the 

widest  margin 

at  the   bottom. 

the   top  next  tnd 

the  two  sides  less 

And     *  1  i  k  «. 

Plate    I 


Plate   V 


THE  HECHAHICAL 

MARGIN 

consists   of  a  line  drawn 

at   equal   distance   from 

the  edge   All    the    wa^y 

•round-  or   ».  blank  space 

of  even  width  on    both. 

sides  -top  and   bottom 

•    it   ia  uninteresting  in   effect  - 

in  mucK  the  earns   ratio   as  a 

square  or  a  circle   is   not  so 

pleasing  to  the  eye  as   the 
oblong  or  oval-  There  is  a 

certain  Interest  in  these  forms 

because  of  contrast  jo  two  lengths 

Pla_te   n 


Plate  Yl 


Plate 


cyou  must  get  a  general  l*uv 
cf*  center  antf  the  placing  of 
matter  on  the  card  with   due 
re/a&on  to  center  -Tfa  Optical 
center  ts  a  tittle  above  real 
center  and  around  t/us  is  the 
nafura/  foca/ion  &r  tfie  center  of 

OPTICAL.,    CBNTER 

y\  --" 

Actual  ^  Ce  IT  tet-. 

Balance    is  reckoned  from  - 
lelt  to  right  of  a  vartical 
Hn«?  cirawn^  through  the 
same   point.  ---    The  oye 
instinctLveiy    locates  that 
point  the  same  eis  it  first 
fbci-ises    in  |th.e   canter 
of   any  circle. 

1 

Plate  vu 


Plate 


Uly  ! 
BALANCED 

Show!  Card 

primarily  in 


its   object 

it  distresses  the 

nerve    through  the 


IT  PUK    THf   £V£  OF 


our  Of  i/fff  writ  me 
of 


applicaltipn  of  the  law 
of  crra.vita.tion  to  the 
eye   is  called   balance. 


Plate  vm 


38 


CHAPTER  IX 


Arrangement  and  Balance  in  Show  Card  Lettering 


THE  practical  end  of  this  most  important  branch  of  the  work 
may  be  called  a  science  or  an  art ;  in  fact,  properly  speaking, 
it  must  be  a  happy  combination  of  both  to  be  effective,  pleas- 
ing and  artistic.  Unlike  the  printer's  art  of  composition,  the  ar- 
rangement and  spacing  of  hand  lettering  is  not  hampered  by 
uniformity  of  certain  letter  widths ;  therefore,  within  certain  limits 
the  composition  of  hand  lettering  can  be  more  artistically  and  effec- 
tively arranged.  Therein  lie's  the  true  value  of  the  hand-lettered 
advertisement,  and  not  in  the  mechanical  likeness  to  type  faces,  as 
is  most  generally  supposed  by  the  beginner  and  by  many  profes- 
sional letterers. 

As  these  chapters  apply  mainly  to  show  cards,  the  occasional 
implication  to  hand-lettered  ads  may  be  taken  literally,  for  a  show 
card  is  a  hand-lettered  ad.  A  wide  selection  might  be  made  from 
the  examples  of  today  that  would  be  far  superior  to  many  of  the 
high-priced  ads  displayed  in  our  newspapers,  magazines  and  peri- 
odicals. The  perpetrators  of  many  of  these  so-called  works  of 
art  get  real  money  for  their  productions,  while  if  the  same  proposi- 
tion were  to  be  put  out  as  a  show  card,  the  artist  (?)  would  be 
lucky  to  draw  down  six  bits  for  the  effort. 

Up  to  the  present  we  have  not  touched  the  subject  of  arrange- 
ment, commonly  called  layout.  This  is  in  reality  a  most  important 
feature  of  the  work,  and  it  may  be  said  that  outside  of  a  few  cut 
and  dried,  hackneyed,  old-time  layouts,  very  little  attention  is  given 
this  subject. 

Therein  lies  the  one  big  reason  why  the  average  show  card  man 
never  gets  any  further  than  the  time-clock  and  Saturday  envelope. 


His  lettering  may  be  excellent,  but  his  best  efforts  have  the  tire- 
some sameness  as  last  year's  work. 

Let  me  suggest  something:  If  you  would  forget  that  everlast- 
ing (and  in  most  cases,  hopeless)  struggling  effort  to  perfect  the 
individual  letter  faces  and  pay  more  attention  to  effective  arrange- 
ment, you  may  begin  to  find  out  something  about  lettering  that  has 
been  overlooked  for  as  long  as  you  have  been  in  the  business.  The 
different  adaptations  of  the  quick,  easy  styles  will  automatically 
adjust  themselves  to  much  better  advantage  and  general  appear- 
ance with  less  labor  and  at  a  great  time  saving. 

Most  letterers  realize  the  fact,  or  should,  that  certain  letters 
or  alphabets  are  impractical  for  handwork,  either  with  brush  or 
pen.  This  being  the  case,  we  adopt  certain  modifications  of  these 
letters  that  become  practical  because  their  production  is  semi- 
automatic, not  particularly  with  any  pen  or  brush  that  happens 
to  be  handy,  but  with  certain  special  brushes  or  pens  that  produce 
strokes  which  constitute  elements  of  the  finished  product. 

It  naturally  follows  that  the  work  takes  on  the  characteristic 
imposed  by  the  individual  strokes  of  the  tools  employed;  the  dif- 
ferent appearance  displayed  in  these  instances  by  different  work- 
men using  the  same  identical  implements  is  mostly  effected  by  their 
individual  technique  much  the  same  as  a  class  of  students  in  pen- 
manship under  the  same  instructor,  using  the  same  kind  of  pens. 
At  the  end  of  a  certain  period  of  time  each  student  has  developed, 
or  will  eventually  develop,  an  individuality  or  style  of  writing  that 
is  peculiar  to  himself,  although  based  on  the  one  system.  This  is 
also  true  in  lettering  if  one  is  left  to  his  own  devices  or  natural 


39 


LETTERING  FOR  COMMERCIAL  PURPOSES 


A 1      11      It/   V/    Z         tlX»^        IV 

ARRANGEMENT- 

finol  all  Headings  and  ti® 
body  talk  ta  some  maimor 
suggestive  of  a  gconptrb 
unity  of  th@  QtititP  dosigit- 


PUU     IX 


adaptability,  and  in  many  cases  each  in  his  own  particular  style  de- 
velops into  a  crackerjack  along  certain  lines. 

But  the  real  trouble  begins  for  him  that  fails  to  let  this  indi- 
viduality have  a  fair  chance  and  allows  himself  to  imitate  some 
other  person's  style  of  work.  He  becomes  a  copyist.  He  may 
eventually  equal  his  ideal,  but  seldom  excels,  unless,  by  some  freak 
of  nature,  he  is  endowed  with  what  is  known  as  "versatility,"  in 
which  case  he  is  able  to  reproduce  a  fairly  creditable  copy  of  any 
style  of  work  that  happens  to  strike  his  fancy ;  but  such  cases  are 
very  rare. 

However,  no  matter  what  your  individual  capabilities  are  as  a 
letterer,  if  your  arrangement  is  clever  the  work  will  instantly  com- 
mand attention  where  good  lettering,  indifferently  arranged,  will 
be  passed  by  without  comment. 

There  are  certain  well-defined  laws  of  arrangement  based  on 


balance,  gravity  and  area.  Lettering  show  cards  is  in  effect  the 
same  as  designing  a  printed  set-up. 

First,  the  matter  should  be  related  to  the  shape  and  size  of  the 
space  in  which  it  goes.  It  should  harmonize  with  that  space  accord- 
ing to  these  laws.  It  should  have  around  it  margins  or  plain  spaces. 

The  Greek  law  of  area  says :  "If  you  have  a  ratio  between 
three  widths,  or  three  sizes,  which  is  approximately  as  five  is  to 
seven  and  to  eleven,  you  will  have  nearly  the  most  comfortable  ab- 
stract proportions." 

It  makes  a  difference  in  catching  the  eye  what  the  margin  is. 
The  most  effective  margin  is  widest  at  the  bottom,  top  next,  and 
the  two  sides  less  and  alike  (see  Plate  1).  The  relation  of  these 
widths  should  be  in  the  ratio  of  eleven  units  to  seven  and  to  five, 
which  is  the  first  application  of  the  Greek  law  to  the  margined 
card. 

In  Plate  2  the  mechanical  margin  consists  of  a  line  drawn  at 
equal  distance  from  the  edge  all  the  way  round,  or  a  blank  space 
of  equal  width. 

Regardless  of  marginal  line,  either  real  or  imaginary,  the  read- 
ing matter  or  decorations  must  be  kept  in  balance,  either  if  in  one 
mass  of  lettering  or  in  several  groups  of  masses,  such  as  separating 
the  headings,  the  descriptive  matter  and  prices  into  different  groups, 
as  shown  in  Plate  3. 

A  badly  balanced  group  of  masses  representing  either  decora- 
tions, illustrations  or  reading  matter,  is  shown  in  Plate  4.  One  of 
the  fundamental  principles  of  arrangement  is  balance,  and  is 
reckoned  from  a  vertical  line  drawn  through  center  from  top  to 
bottom.  ., 

Attractions  which  are  equal  in  size,  shape,  color,  etc.,  balance  at 
equal  distances  from  their  center  (Plate  5).  Unequal  attractions 
balance  at  distances  from  their  centers  in  inverse  ratio  to  their 
powers  of  attraction  (Plate  6). 

This  is  due  to  the  law  of  gravitation,  which,  applied  to  the  eye, 
is  called  balance,  and  is  the  chief  element  of  criticism  in  any  form 
of  design. 


40 


LETTERING  FOR  COMMERCIAL  PURPOSES 


Consistently  related  shapes  are  controlled  by  the  law  of  propor- 
tion, that  which  attracts  attention  by  perfect  balance  of  a  variety 
of  shapes  in  a  common  group.  Therefore,  consistently  related 
shapes  as  applied  to  groups  or  masses  of  lettering  or  decorations 
constitute  the  first  principle  in  the  arrangement  of  a  show  card. 

For  instance,  if  we  have  a  copy  consisting  of  a  heading  or  catch 
line,  then  a  mass  of  descriptive  matter  and  price  mark,  the  placing 
of  these  groups  on  the  card  must,  to  be  effective,  be  controlled  by 
these  laws.  If  not,  and  the  result  is  still  pleasing,  it  is  an  accident 
and  not  likely  to  occur  in  any  other  instance  where  different  copy 
or  decorations  are  used.  This  is  one  reason  why  sometimes  an 
effective  card  is  produced  without  any  apparent  reason. 

'  For  variety  of  common  shapes  we  have  the  square,  circle,  oblong, 
triangle  and  ellipse.  The  limit  of  contrast  is  the  square  and  circle. 
They  are  likewise  the  most  monotonous.  There  is  more  interest  in 
the  oblong  or  ellipse,  because  of  their  two  lengths. 

If  you  have  a  copy  separated  into  the  heading,  a  price  and  a 
paragraph  of  descriptive  matter,  the  most  inharmonious  method  of 
arrangement  that  could  be  devised  would  be  to  square  the  head- 
lines, put  the  price  in  a  circle  and  the  descriptive  matter  in  an 
oblong  panel  below.  Therein  lies  the  consistent  variety  of  shapes. 

If  your  copy  contains  a  headline  and  two  or  three  paragraphs 
of  reading  matter,  a  price  and  probably  the  firm  name,  the  masses 
should  bear  the  proper  size  relation  in  a  consistent  variety  of  shapes, 
and  the  whole  properly  balanced  somewhat  like  the  masses  shown 
in  Plate  3.  In  the  first  place,  the  heading  should  be  of  the  size  and 
length  suggested  by  its  value  in  the  copy  and  not  be  spaced  to  make 
a  full  length  line.  Where  the  Jongest  line  is  also  the  heaviest  line, 
it  should  be  above  the  center  of  the  composition. 


Brushable  Modifications 

of  Modern  •  Standard-Roman  Type   Faces 

abcdefghijklmnop 
qrstuuvwxyz&Co 

ABCDEFGHIJKLMN 
OPQR  STUVWXYZRf 


PLATE  l-O 

It  is  always  advisable  to  make  a  pencil  layout  of  copy  with 
which  you  are  not  familiar.  It  saves  time  and  adds  value  to  the 
appearance  of  the  finished  product.  You  may  be  a  good  space 
guesser,  but  not  infallible  in  all  cases,  and  crowding  a  line  is  more 
disastrous  to  appearance  than  wide  spacing. 

Plate  7  shows  diagram  of  correct  border,  actual  and  optical  cen- 
ter and  line  of  balance.  Plate  8  speaks  for  itself,  while  Plate  9 
shows  a  geometric  form  of  arrangement  that  is  extremely  popular 
at  the  present  time,  and  is  also  very  appropriate  for  the  lettering  of 
moving  picture  subtitles  or  page  matter  of  any  description. 


41 


LETTERING  FOR  COMMERCIAL  PURPOSES 


ANCIENT  ROMAN 

ABCDEFGHIJK 

LMNOPQRSTU 

VWX          YZ& 

$123456789 


PLATE  iaa. 

42 


LETTERING  FOR  COMMERCIAL  PURPOSES 


Brushable  modifications  based  oit- 

•  ANCIENT  ROMAN" 

abcdcfghijklmno 

pqrstuvwxyz^in 

Letters  of  this  character  should  be  either 
of  single-  stroke  or  modeled  construction^ 
N01E  illustrative  instruction-  Plate  123 


PLATE  123 

43 


LETTERING  FOR  COMMERCIAL  PURPOSES 


BOLD  ROMAN  CAPITALS 

Stumped  with  a  blunt 

A  B  CDBF 
GHIJKLM 

NOPQRST  * 
UVWTX8OD 


Plate  .124 

44 


LETTERING  FOR  COMMERCIAL  PURPOSES 


abcdefghijld 
mnppqrstttv 

W     -letters  of  tiiis  character  aw 
most  easier  made  by  stump- 
ittg  methods,  using  a  short. 
y       blunt,  brush  well  flooded  with    »  • 
medium  thick  or  heavy  color.      J  j 


Plate  125 

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Note  Triangular  Serifs 

abcdefehijklmno 
pqrstuvwxyz  imii 

ABCDEFGHIJKLM 
NOPQRSTUVWKYZ 


Plate   12,6 
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Text  Foster-  Single  Stroke 


rstuv  •  speed- 
ABCDEFfrW  JKLM 

NOPQRSTUVWXYZ 


Plate   127 


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Poster  Styfe-with  a  blunt  brush- 

abcdefghijkl 
mnopqrstuva 

wxyz  6-oeivnv 


Qmdensod 


48 


CHAPTER  X 


Diagrammatical  Analysis  of  Letters 


THE  architectural  draft  of  a  complete  structure  is  seldom  given 
much  thought  or  attention  by  the  casual  observer.  All  that  is 
seen  of  the  subject  in  its  finished  state  is  the  general  appear- 
ance. An  illustration  of  the  human  figure,  either  nude  or  draped 
in  ordinary  or  fancy  apparel,  may  be  either  good  or  bad.  The  treat- 
ment of  the  drapery,  the  coloring  and  general  arrangement  may 
be  in  itself  excellent,  but  if  the  structural  figure  is  badly  drawn  or 
posed  the  pleasing  effect  is  lost. 

Obviously,  an  artist  must  be  familiar  with  the  anatomy  of  a 
figure  before  he  is  able  to  reproduce  it  in  a  manner  calculated  to 
excite  the  admiration  of  the  beholder. 

To  this  end,  if  properly  taught,  he  is  given  a  thorough  course 
of  instruction  in  anatomy;  he  must  familiarize  himself  with  bone 
structure  and  muscular  tissue  of  the  human  figure.  Mere  outlines 
will  not  give  one  the  insight  required  to  become  a  successful  figure 
painter  or  portrait  artist. 

Many  of  the  best  illustrators  proceed  to  sketch  a  draped  study 
by  first*making  a  deliberate  outline  sketch  of  the  nude  in  any  de- 
sired pose,  after  which  the  dress,  drapery  or  clothing  is  systemati- 
cally drawn,  arranged  over  the  figure.  If  the  first  draft  is  correct 
it  naturally  follows  that  the  drawing  of  the  clothing  or  draperies 
on  the  figure  is  more  liable  to  assume  correct  and  graceful  propor- 
tions than  if  drawn  in  a  haphazard  manner  by  one  not  thoroughly 
familiar  with  the  anatomical  proportions  and  life-like  poses  of  the 
subject. 

We  have  all  noted  the  absurd  and  unlife-like  appearance  of 
clothed  or  draped  window  display  dummies  or  wax  figures.  No 
matter  how  elegant  the  gown  or  correct  the  finish,  cut  and  style  of 


garment  displayed  on  a  badly  proportioned  or  ill-stuffed  dummy, 
it  loses  its  value  in  appearance  anatomically. 

The  foregoing  is  simply  presented  as  a  comparison  of  correct 
and  incorrect  formation  of  letters.  If  one  is  thoroughly  familiar 
with  what  may  be  aptly  termed  the  correct  anatomical  »formation 
of  a  letter  or  alphabet,  its  actual  production  then  becomes  a  mat- 
ter of  intelligent  and  persistent  practice,  using  the  tools  best 
adapted  to  producing  the  elementary  parts  in  proper  combination, 
using  a  series  of  regular  movements  of  the  arm,  hand  and  fingers 
best  calculated  to  become  semi-automatic  and  rhythmical  in  action 
by  continued  repetition. 

Too  much  can  not  be  said  of  the  excellent  results  derived  from 
the  exercises  prescribed  by  teachers  of  penmanship.  Practically 
the  same  results  will  occur  in  freehand  lettering  if  one  persists  in 
certain  rhythmical  movement  exercises  of  the  arm  arid  fingers. 

What  is  familiarly  known  as  "the  swing"  is  absolutely  neces- 
sary to  do  graceful  lettering.  But  the  swing  of  the  arm  and  fingers 
in  manipulating  a  pencil,  brush  or  pen  must  also  include  "control" 
both  on  slow  and  rapid  movements. 

Having  acquired  the  combination  of  swing  and  control  by  prac- 
tice on  certain  exercises  based  on  the  elements  of  letters,  consisting 
of  circles,  ovals,  vertical  and  horizontal  lines,  strokes  and  angles, 
then  actual  formation  of  letters  becomes  a  semi-automatic  proposi- 
tion directed  by  the  brain  through  the  sight. 

Primarily  the  sight  is  directed  by  the  brain.  Simply  seeing  an 
object  denotes  sight,  but  to  see  it  as  it  really  is  requires  study, 
either  much  or  little,  depending  largely  on  individual  qualifications 
along  certain  lines. 


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PLATE-  A 


To  reproduce  an  object  as  one  actually  sees  it,  or  imagines  it  to 
be,  depends  largely  on  natural  ability.  All  arguments  to  the  con- 
trary are  theoretical.  -However,  any  person  possessed  of  average 
mental  faculties  and  not  physically  disabled  will  be  able  to  improve 
in  any  line  of  endeavor  if  aided  by  proper  instruction.  To  accom- 
plish even  this,  however,  one  must  be  given  the  correct  start,  the 
.  fundamental  principles. 

All  labor,  study,  practice  and  effort  must  be  properly  directed 
or  the  result  is  either  failure  or  near  failure.  Any  part  of  the  en- 
deavor that  is  misdirected  has  a  tendency  to  retard  the  progress 
of  the  entire  proceeding.  Unfortunately,  there  are  many  who  are 
grinding  and  plugging  away  at  the  various  crafts,  and,  having  begun 
in  the  middle,  the  .missing  link  to  connect  with  success  has  been 
inadvertently  left  behind. 

As  applied  to  the  subject  of  lettering,  the  link  may  be  any  one 
of  many  items — principle,  form,  material,  tools,  movement,  control, 
speed,  attention,  observation,  instruction,  the  sense  of  sight  princi- 
pally as  applied  to  the  mind's  eye,  colors,  imagination,  inspiration, 
etc. 

.  Without  the  ability  to  criticize  one's  own  efforts,  a  continuation 
along  the  same  lines  without  apparent  good  results  is  sufficient 
proof  that  there  is  something  radically  wrong.  A  self-analysis  then 
becomes  necessary.  First  determine  just  what  particular  element 
is  lacking  in  your  physical  or  mental  make-up. 

If  you  are  working  with  your  own  imagination  as  to  form  or 
method  of  production,  just  why  are  you  so  doing? 

Are  you  trying  to  copy  any  certain  style  or  grade  of  work,  and, 
if  so,  are  you  using  the  identical  mediums  employed  in  their  pro- 
duction? 

Do  you  think  it  possible  to  engrave  a  watch  case  with  a  pickaxe? 
Have  you  that  particular  ability  or  technique  to  reproduce  all  the 
various  styles  of  work  displayed  along  your  main  street  with  the 
same  tools  you  ordinarily  use  ?  If  not,  is  there  any  particular  style 
you  admire  sufficiently  to  direct  all  your  energy  toward  reproducing 


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PLATE  C 


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it?  Can  you  make  any  particular  alphabet  better,  faster  and  cleaner 
than  another? 

It  is  necessary  that  you  should  have  the  correct  structural 
formation  of  each  letter  firmly  imprinted  in  the  mind's  eye.  Other- 
wise your  preliminary  practice  on  drafting,  formation  or  the  move- 
ments necessary  to  successful  lettering  is  misdirected. 

Speaking  of  lettering  from  a  draftsman's  viewpoint,  it  is  first 
necessary  to  become  familiar  with  the  fundamental  principles  of 
lettering  in  order  to  get  the  proper  idea  fixed  in  your  mind's  eye. 
This  far  and  no  further  should  you  go  according  to  the  applied  rules 
of  drafting. 

Plates  A  and  B  show  the  capitals  and  small  letters  of  the  Roman 
alphabet  in  the  proportionate  size  and  space  relationship  as  dia- 
grammatically  laid  out  by  accepted  authorities.  Mathematically 
they  may  be  wrong  by  a  small  fraction,  but  for  all  practical  pur- 
poses in  hand  lettering  they  are  about  as  close  as  you  will  find 
use  for. 

It  may  be  noted  that  Roman  originally  consisted  of  the  capitals 
only.  Small  letters  were  designed  and  adopted  only  after  the  art 
of  printing  came  into  use.  You  will  notice  that  each  small  letter 
occupies  a  space  dimension  of  nearly  a  square,  which  has  been 
divided  into- nine  parts.  The  space  occupied  by  each  letter  in  the 
square  is  defined  by  these  sections  of  the  square  in  nearly  the  cor- 
rect shape.  The  extended  letters  above  the  line  may  occupy  either 
two-thirds  the  height  of  the  letter  or  extended  to  the  third  square 
above,  making  them  the  exact  height  above  the  line  as  the  height 
of  the  letter. 

The  letters  extending  below  the  line  are  two-thirds  only.  The 
capitals  occupy  a  certain  well-defined  space  within  each  square. 
Note  the  relative  widths.  These  letters  will  serve  as  a  base  upon 
which,  to  devise  your  individual  conceptions  of  the  Roman  alphabet. 


Plate  C  represents  the  structural  formation  of  Roman  letters, 
the  relation  of  oval  and  circular  elements  to  the  horizontal  and 
vertical.  This  plate  is  not  intended  as  a  method  of  construction, 
but  simply  a  preliminary  imaginative  nude  sketch  of  constructive 
formation  upon  which  to  arrange  the  clothing;  meaning,  in  other 
words,  a  mental  sketch  to  be  thoroughly  fixed  in  the  mind's  eye — 
a  visionary  superstructure  invisible  in  the  finished  production,  but 
always  apparent  by  indication  of  correct  form  in  the  finished  letter, 
much  in  the  same  manner  as  a  stylish,  well-fitted  gown  or  suit  may 
be  observed  draping  a  correctly  formed  human  figure.  The  actual 
figure  is  unseen,  but  the  structure  is  visibly  apparent.  One  can  not 
think  of  a  squirrel  and  draw  it  correctly  if  unfamiliar  with  its 
anatomical  proportions.  Yet  it  is  known  that  some  misguided  in- 
dividuals have  worked  on  certain  propositions  for  years  before 
tumbling  to  the  fact  that  all  previous  efforts  have  been  misap- 
plied. 

Note  Plates  Nos.  l-O  and  126,  original  14  x  22.  The  two  top  lines, 
Plate  l-O,  made  with  a  Daily  brush  worked  down  to  a  fine  point ; 
the  bold  face  alphabet  made  with  No.  15  Daily  brush.  Note  absence 
of  hair  lines ;  also  note  peculiar  formation  of  the  spur  finish.  This 
is  a  single  stroke  letter,  very  fast ;  the  spurs  are  three-cornered  on 
the  base;  they  are  formed  by  a  continuation  of  the  down  stroke 
by  pulling  the  brush  to  the  left  on  the  base  line,  and  without  raising 
the  point  from  the  card  or  changing  position,  pull  to  the  right,  then 
lift  brush  from  the  paper ;  this  gives  the  three-corner  spur  without 
further  effort  or  trim-up.  The  top  spurs  are  sharp  angles  on  the 
perpendiculars,  of  b-d-h-i-j-1-m-n-q-r-u,  and  a  side  drag  three- 
corner  spur  on  tops  of  v-w-x  and  y,  and  the  same  -in  all  capital 
spurs.  A  wide  spacing  gives  this  letter  a  unique  effect,  as  shown  in 
the  small  letters  of  second  line  (of  Plate  No.  l-O) ;  they  may  be 
effectively  condensed  also. 


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ft 


ack  my  box  w itli  live  dozen  ipr  j 

alphabetical  sentences 


23156789  \l 


Plate   129 


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SOME^NUMERALS 

1234567890^ 
1234B6789OZI 

1234567890^ 

123*562890 


54 


CHAPTER  XI 


Rapid  Single  and  Double  Stroke  Numerals 


GOOD  figures  or  numerals  are  even  more  essential  than  good 
lettering.  To  be  able  to  "knock  'em  out"  in  a  rush  is  nine 
points  in  your  favor.  A  neat  numeral  adds  a  large  percentage 
to  the  value  of  a  display  card,  and  as  for  price  tickets,  many  stores 
use  thousands  per  week. 

The  numerals  on  a  window  full  of  tickets  should  be  all  of  the 
same  character.  Mixing  the  styles  of  numerals  on  tickets  appear- 
ing in  the  same  window  is  poor  judgment. 

In  many  department  stores  single  stroke  figures  are  used  ex- 
clusively, as  time  will  not  permit  outlined  Roman  styles.  Other 
stores  will  not  stand  for  a  single  stroke  Egyptian  or  Gothic  figure. 
A  fairly  good  Roman  figure  for  small  work  can  be  made  by  the 
single  stroke  method  with  either  a  Soennecken  or  Hunt's  400  pen  or 
brush,  but  it  requires  considerable  practice  to  acquire  the  requisite 
speed  which  imparts  the  appearance  of  freedom  and  graceful, 
swingy  strokes. 

Did  you  ever  notice  a  professional  penman  make  a  combination 
of  two  or  more  capital  letters  ?  The  method  he  employs  would 
serve  as  an  excellent  object  lesson  for  the  show  card  writer,  espe- 
cially in  making  single-stroke  Italic  numerals  or  letters.  It  is 
almost  impossible  to  draw  a  graceful  letter  or  numeral.  The  very 
fact  that  it  is  drawn  precludes  the  possibility  of  imparting  the 
"swing." 

A  naturally  good  penman  or  a  person  who  has  acquired  the 
ability  to  write  gracefully  will  find  it  much  easier  to  acquire  a  dis- 
tinctive, characteristic  style  of  lettering  than  one  who  has  to  draw 
the  characters.  A  penman  who  resorts  to  drawing  his  script  is  really 
not  considered  a  penman.  He  may  be  able  to  execute  a  beautiful 


style  of  engraver's  script,  copperplate  effects,  etc.,  but  his  efforts 
show  in  the  work,  and  a  mechanic  of  that  particular  school  would 
do  better  by  being  an  engraver. 

There  are  many  cardwriters  who  would  likewise  double  their 
earning  capacity  in  the  field  of  commercial  art,  lettering  for  repro- 
duction purposes.  The  amount  of  labor,  time,  effort  and  skill  de- 
voted to  producing  a  single  show  card  is  often  worthy  of  a  higher 
object. 

Some  of.  the  show  cards  that  are  turned  out  in  the  big  shops  are 
marvels  of  grace  and  accuracy.  As  a  matter  of  fact,  they  are  actu- 
ally too  good  for  the  purpose  intended.  Their  sameness  year  in 
and  year  out  becomes  monotonous. 

To  my  notion  they  frequently  resemble  memorials,  stock  stuff. 
One  single  stereotyped  design  is  made  to  cover  all  purposes  for 
'  advertising  "Spring  styles  now  ready  for  your  inspection"  to 
"Xmas  greeting,"  which  you  all  too  frequently  see  in  the  tailor 
shops,  shoe  shops,  hat  shops,  and  all  other  shops  that  deal  in  wear- 
ables for  men,  women  and  children  regardless  of  age,  race,  sex,  size 
or  color. 

The  merchants  have  been  fed  upon  this  stuff  so  long  and  so  plenti- 
fully that  it  has  become  a  habit.  The  next-door  dealer  may  have 
the  same  stunt  in  his  window  for  a  certain  occasion.  Maybe  he  has 
dug  it  out  of  a  year's  hiding  place  in  the  safe  to  serve  the  same 
purpose  as  on  a  former  occasion.  His  standard  of  excellence  in  dis- 
play card  publicity  is  based  on  what  his  competitor  used  year  before 
last  with  seeming  good  results. 

I  note  particularly  that  in  various  trade  papers  and  periodicals 
there  appear  with  a  well-defined  regularity  articles  pertaining  to 

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A  Few  Practical.  Rapid  Numerals 
19&1567S9O  $42$e<? 


12  34  5  67  89  0-234  <fi 

123456789960$ 

1234567690 

12345676QO   1234567St)0  t 


Outlined  Construction 


(234S6789  123456760 


SINGLE-STROKE 


THICK  &  THIN* 


show  card  writing,  with  illustrations.  The  only  difference  ap- 
parent is  in  the  wording.  The  cards,  the  lettering,  the  layout  and 
general  effect  might  lead  the  average  observer  to  believe  that  all 
show  card  writers  learned  their  trade  under  one  tutelage. 

Therein,  to  my  notion,  lies  the  chief  difficulty  in  getting  money 
for  the  work.  If  there  is  but  one  standard  or  style  of  workmanship 
that  is  acceptable  by  the  consumer,  90  per  cent,  of  us  better  direct 
our  efforts  in  some  other  direction.  For  the  element  of  competi- 
tion resolves  itself  into  only  one  consideration — a  cut  in  price  to 
get  business — and  that  spells  disaster  to  all  concerned  except  the 
customer,  and  in  90  per  cent,  of  such  cases  the  work  suffers.  That 
is  the  only  way  a  price-cutter  can  break  anywhere  near  even. 

There  are  three  different  angles  of  the  show  card  writer's  work 
— the  department  store,  the  show  card  shop,  and  the  window  deco- 
rator, who  makes  his  own  cards. 


The  department  store  artist  is  usually  a  well-appearing  sort  of 
chap,  just  about  six  jumps  behind  the  clock  all  the  time.  If  ever  he 
sees  an  empty  order  hook  he  doesn't  believe  it.  He  begins  to  worry 
about  the  rush  he  knows  is  on  the  way  up. 

No  man  need  envy  the  decorator's  job  that  carries  the  addi- 
tional labor  of  writing  cards.  True,  the  envelope  is  heavier,  .but 
it's  certainly  worth  it. 

The  shop  man  must  be  an  all-round  hustler.  To  be  successful 
he  must  not  only  be  a  versatile  workman ;  he  must  be  also  a  busi- 
ness man,  an  ad  writer,  having  a  never-failing  fund  of  suggestions, 
stunts,  color  harmonies,  new  ideas  or  old  ones  reclothed.  He  must 
be  able  to  think  of  six  different  things  while  doing  three  others, 
but,  after  all,  there  is  a  certain  diversification  in  shop  work  that 
precludes  much  monotony.  Even  if  it  is  "all  work,"  he's  the  man 
that  usually  sets  the  pace  for  the  other  fellow. 


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Alphabets   are 
original  only  so 
far  as  indiviouial 
treatment  and 
technic  alters 
the  appearance 
without  change 
oFkasic  principle 


aracteristic 
Bold  Display 

Adap  ted 
from  Koman 


Plate  132 


58 


CHAPTER  XII 


Economy  of  Motion  as  an  Aid  to  Speed 


NOWADAYS  'tis  "speed,"  and  to  this  end  every  element  of 
drag,  lost  motion,  useless  movement  and  obsolete  method  in 
lettering  must  be  eliminated  if  one  expects  to  .accomplish  the 
quantity  of  work  that  the  present-day  craftsman  is  called  upon  to 
produce  in  a  day's  time. 

After  having  determined,  by  careful  experiment,  just  what 
brushes  and  pens  are  best  adapted  to  your  individual  requirements, 
and  having  carefully  studied  and  familiarized  yourself  with  the 
forms  and  principles  of  certain  alphabets  suitable  to  your  line  of 
work,  then,  and  not  until  then,  will  you  be  able  to  develop  some- 
thing that  resembles  individual  style  and  character. 

It  has  been  aptly  said  by  some  of  the  most  able  craftsmen  that 
lettering  should  be  as  individual  in  style  as  is  handwriting. 

Aside  from  professional  penmen  and  teachers  of  writing  (who 
usually  abide  by  certain  well-defined  principles  and  systems),  you 
will  hardly  find  two  in  ten  thousand  adults  who  write  alike.  This 
fact  has  been  proven  by  experts.  Every  individual  who  has  any 
considerable  amount  of  writing  to  do  will  naturally  drift  into  a 
short-cut  system  entirely  original  with  himself,  regardless  of  the 
system  under  which  he  was  primarily  taught  or  instructed.  Some 
never  develop  into  good  writers,  but  the  average  business  man  of 
today  can  produce  a  page  of  writing  that  is  fairly  good  to  look 
upon  anu  in  many  instances  is  artistic  to  the  eye  of  the  professional 
penman.  If  the  artistic  element  is  properly  cultivated  the  writing 
would  be  more  pleasing  in  appearance,  still  retaining  the  individual 
character.  This  is  not  theory ;  it  is  certain,  and,  as  applied  to  hand 
lettering,  the  same  result  will  sooner  or  later  become  apparent. 

However,  the  student  of  lettering  has  a  greater  latitude  to  work 


in  owing  to  the  diversified  styles  of  alphabets  in  common  use.  The 
ordinary  mistake  in  devising  an  alphabet  lies,  in  using  a  mixed 
series  of  basic  principles.  For  instance,  in  taking  two  alphabets 
based  on  Roman,  like  the  Caslon  and  DeVinne,  a  careful  study  of 
the  elements  involved  in  their  construction  shows  a  wide  departure 
each  from  the  other. 

One  should  study  these  differences  from  type  books  and  not 
from  hand  lettering  to  thoroughly  understand  this  theory,  as  hand 
lettering  will  always  deviate  from  its  origin  to  a  certain  extent,  re- 
gardless of  the  skill  of  the  operator.  This  fact  is  the  result  of  in- 
dividuality "and  is  what  makes  hand  lettering  an  art  in  itself.  If 
replicas  of  type  faces  constitute  perfection,  hand  lettering  would 
probably  cease  to  exist  as  an  applied  art  in  all  but  the  most  extra- 
ordinary cases,  owing  to  commercialism. 

Plate  23  represents  the  Caslon  Old  Style,  as  modeled  with  a 
No.  6  Rigger  brush  (size  of  original,  12  x  15),  which  resembles  the 
type  of  that  name  as  closely  as  the  average  letterer  will  attempt 
with  any  degree  of  speed,  which,  as  a  matter  of  fact,  is  too  slow, 
for  this  type  does  not  readily  respond  to  rapid  treatment  with  a 
brush  and  it  is  practically  impossible  to  "single  stroke"  this  letter 
with  a  pen. 

There  are  various  modifications  of  this  style  letter  that,  when 
properly  reduced  and  arranged,  present  a  very  attractive  and  artis- 
tic appearance.  Plates  24  and  133  are  fair  representations. 

The  Italics  and  their  modifications,  based  on  this  series,  are 
among  the  most  beautiful  of  all  types  of  that  nature,  some  of  which 
may  be  very  rapidly  executed  when  their  chief  peculiarities  are 
rendered  brushable  by  the  single  stroke  method. 


59 


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Caslon  Old  Style  Italic 

abcdefghijklmnopqrstu 

|'|;:-?||    wwxyz  | 

Rapid  drushable  modifications 

abed  efgcik  ijklm  nopqr 


stuv- single  stroke-wxy 


o 


PLATE  22 


60 


LETTERING  FOR  COMMERCIAL  PURPOSES 


Caslon  Old  Style 

in  brush  modeling". 

abcdefghijklmno 
pqr  s  tuvwxyz  & 

ABCDEFGHIJK 
LMNOPRSTUVY 


PLATE        23 
61 


LETTERING  FOR  COMMERCIAL  PURPOSES 


DERIVED      FROM       CASLON 

ABCDEFGH 
UKLMNOPQ 
R  STUVWXYZ 

SINGLE    STROKE 
CAPITALS   & 

^123156789 


PLATE  133 


I  do  not  wish  to  discourage  the  efforts  of  those  who  make  letters 
by  the  outline  method  or  by  the  methodical  labors  of  the  drafts- 
man. But  in  comparison  with  the  work  as  it  is  rendered  by  the 
modern,  successful  commercial  letterer  of  today  with  that  which 
has  been  done  in  the  past  by  other  methods  of  the  "old  school,"  we 


Single  Stroke  Letter 
Derived  from  Caslon 

»s 

abcdefghij 
klmnopqrst 
uvwxyz  oe& 

Brushable  Adaptations  of 

Standard  Alphabets. 


62 


PLATE-24-- 

have  only  to  look  at  the  results.  Bear  in  mind  that  I  am  not  speak- 
ing of  the  engraver,  the  lithographer,  or  the  draftsman,  or  of  their 
methods.  I  am  referring  to  the  work  of  the  commercial  letterer, 
the  newspaper  artist,  the  show  card  writer,  etc.,  who  of  necessity 
are  compelled  to  produce  large  quantities  of  work  in  a  rush. 


CHAPTER  XIII 


Modifications  of  Type  Faces  Adapted  to  Brush  Work 


THE  standard  alphabets  based  on  Roman  upper  and  lower  case 
are  known  by  various  type  terms,  some  of  which  bear  the 
name  of  the  designer.  Prominent  among  these  are  Caslon  and 
DeVinne.  While  each  of  these  two  types  is  distinctively  of  Roman 
origin  and  principle,  they  are  widely  different  in  construction  and 
appearance.  For  various  reasons  the  Caslon  type  is  extremely  diffi- 
cult to  produce  with  a  pen  or  brush ;  very  few  letterers  have  been 
successful  in  producing  anything  in  close  resemblance  to  this  type 
with  any  degree  of  speed,  consequently  it  has  met  with  little  favor 
by  the  average  letterer. 

The  DeVinne  style,  of  which  two  alphabets  are  herewith  illus- 
trated— Regular  and  Italic — is  one  of  the  easiest  types  of  Romans 
to  make  with  a  brush  or  pen  using  either  the  single  stroke  or  two- 
stroke  modeled  construction. 

The  constructive  elementary  strokes  bear  a  well-defined  regu- 
larity throughout  that  is  particularly  adapted  to  production  with 
a  flat-chiseled  brush  or  pens  of  the  Soennecken  or  Hunt  400  variety. 

I  want  you  to  realize  that  good  lettering  in  proper  arrangement 
is  by  far  more  important  than  decorative  stunts.  A  good  income 
in  this  business  may  be  derived  from  the  ability  to  letter  plain  cards 
rapidly,  but  poorly  lettered  cards  with  amateur  decorations  have  no 
commercial  value  to  the  live  advertising  manager. 

Learn  to  letter  first.  Then  learn  the  artistic  during  leisure  mo- 
ments without  interfering  with  your  earning  capacity. 

About  75  to  80  per  cent,  of  the  hand-made  display  cards  used 
are  simply  plain  black  and  white,  or  red  and  black,  or  white  with  a 
marginal  line;  if  the  lettering  is  fairly  well  done  and  attractively 
arranged,  the  work  gets  the  money,  particularly  if  of  good  arrange- 


ment. The  average  beginner  or  amateur  card  writer  makes  his  big- 
gest mistake  in  attempting  the  decorative  before  being  able  to 
correctly  dot  an  "i." 

The  advertising  business  man  is  too  well  educated  along  these 
lines  to  pay  for  inferior  lettering  disguised  with  a  bunch  of  ama- 
teurish decorative  effects,  most  of  which  are  plastered  on  and 
around  the  lettered  matter  to  hide  the  defects  in  lettering,  spacing 
and  arrangement. 

It  is  a  fact  that  the  making  of  many  a  good  workman  is  badly 
hampered  by  the  inclination  to  attempt  the  ornamental  prema- 


ILVERWARE 

- •••••••••••• 

Patterns    of  wide  variety 
to  suit  all  tastes.  Quality 
assured  by  an  actual  test 
of  over  63  years    service 
in  American  households. 


PLATE    '25 


63 


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Show  Card  Style  DeMnne 

abcdefg-hi 

jklmnopqr 

Y     stuvwxyx-     W 

ABCDEFGHIJK 
LMNOPQRSTUVX 


turely,  thereby  forgetting  or  overlooking  the  fundamental  necessi- 
ties that  are  lacking  in  a  critical  examination  of  their  efforts  in  an 
ornamental  direction. 

If  one  is  able  to  make  one  good  alphabet,  either  Roman  or 


DeVinne  Italics 

abcdefghijklmnop 
qrs  tu          vwxyzsi 

ABCDEFGHIJKLMN 
OPQRSTUVWXYZ? 

113466789. 


Gothic,  one  good  pen  alphabet,  and  a  good  set  of  figures,  and  do  all 
this  fast  enough  in  proper  arrangement,  he  can  hold  down  the 
average  department  store  job. 

For  all  around  shop  work  the  requirements  are  greater. 


64 


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a  «Shcw  Gaid  Characteristic 

abcdefgli 
ikjlmnopqr 

6tUV&WZXY 


dose  packed  5facin< 


ftll  round  orab,  condensed  upridcte. 

T"*\1   -  -OTT-  >  JL  ^-<' 


Plate  154- 


65 


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66 


CHAPTER  XIV 


Italics  for  Speed  Lettering 


FOR  various  mechanical  reasons,  due  probably  to  motions  or  ac- 
tions that  respond  most  easily  to  natural  muscular  movement, 
letters  which  have  an  angular  slant  are  easier  to  make  and 
can  be  produced  with  greater  rapidity  than  perpendicular  char- 
acters. It  may  be  also  due  to  the  fact  that  our  earlier  training  in 
the  practice  of  penmanship  has  something  to  do  with  this.  The 
uniformity  of  slant  is  easier  to  maintain  on  an  angle  than  straight 
up.  The  careful  attention  required  to  keep  the  balance  in  perpen- 
dicular letters  is  reduced  in  the  production  of  Italics. 

Did  it  ever  occur  to  you  that  real  quality  appearance  of  perpen- 
dicular letters,  or,  in  fact,  anything  that  stands  upright  on  its  own 
base  without  having  the  appearance  of  being  propped  up,  is  due 
to  the  law  of  balance?  Not  only  should  each  individual  letter  have  this 
appearance,  but  the  entire  mass  or  body  of  lettering  should  be  so 
arranged  that  its  appearance  as  a  design  or  as  a  whole  should  either 
be  as  if  suspended  from  a  balance  center,  like  a  plumb  bob,  or 
else  to  stand  firmly  on  its  own  foundation  without  real  or  imaginary 
props.  Balance,  then,  to  my  notion,  plays  the  most  important  part 
as  one  of  the  chief  fundamental  principles  of  any  design ;  in  this 
respect  we  may  designate  any  single  letter  or  group  of  letters  as  a 
design.  Irrespective  of  whether  it  is  made  on  a  slant  or  perpen- 
dicula'r,  the  general  appearance  must  still  maintain  the  effect  of 
being  balanced. 

If  it  has  a  tippy  effect,  either  to  right  or  left,  it  is  improperly 
constructed.  Therefore,  in  the  Italic  characters,  if  an  individual 
letter  has  a  tippy  look,  or  appears  to  be  standing  on  edge,  it  is  out 
of  balance ;  if  an  entire  mass  of  lettering  looks  "skeed"  the  arrange- 
ment is  faulty. 


Some  of  the  cards  seen  on  display  have  been  really  excellent 
examples  of  good  workmanship,  so  far  as  the  lettering  and  layout 
were  concerned,  but  for  some  reason  there  appeared  to  be  a  lack  of 
security  in  foundation,  whereby  the  effect  of  stability  was  lost. 
Did  you  ever  note  the  effect  produced  by  a  picture  hung  out  of 
balance?  It  doesn't  matter  how  good  the  picture  may  be  or  what 
the  subject  is,  to  one  who  has  any  natural  sense  of  balance  the 
effect  is  uncomfortable.  The  impelling  impulse  is  to  first  straighten 
up  or  balance  the  picture  in  order  to  view  the  perspective  from  a 
well-balanced  angle  or  point  of  view. 

Subconsciously  every  act  or  effort  we  perform  in  life  is  governed 
by  the  laws  of  gravity  and  balance.  It  naturally  follows  that  every 
structure,  design,  mass  or  object  is  controlled  by  these  same  laws. 
Dealing,  then,  with  letters,  either  singly  or  in  groups,  their  arrange- 
ment into  reading  matter,  or  masses,  such  as  paragraphs  or  pages, 
or  in  certain  defined  space  limits,  the  law  of  balance  should  first  be 
considered. 

Personally,  I  am  unable  to  give  a  reliable,  scientific  dissertation 
on  the  laws  of  balance  or  gravity,  but  the  application  of  the  princi- 
ples is  supposed  to  be  generally  understood  in  a  manner  sufficient 
by  the  individual  possessed  with  the  average  amount  of  intelligence 
with  whom  I  am  supposed  to  be  passing  opinions  regarding  the  sub- 
ject of  lettering.  So  any  further  enlightenment  on  the  said  laws 
will  have  to  be  dug  up  through  the  proper  authorities  by  the  in- 
dividual desiring  such  knowledge,  for  I  feel  that  I  am  getting  in 
over  my  head. 

It  may  be  sufficient  to  explain  that  in  the  arrangement  of  letters 
in  reading  matter  on  a  card,  balance  is  defined  from  a  line  drawn 


67 


LETTERING  FOR  COMMERCIAL  PURPOSE 


<Sho-Card  Saipt  Italics. 

abcdefghi/klm  . 
nopqrsfuvwxyz,. 


KLMNOPQ&ST 


Q  9a$£  Say/  modificatioa 

cfocde/qhifolmnopqTstuv 
wxyz  all  continuous  and 
runninqliand  curves* 


&ext Jtalics 

Sased  on  a  combination,  of  Roman 
an6  016  English  f&xt.   Very  effective 
for  Ornamental  ^Headings  or  forge 
masses  of  reading  matter,  but  if 
improperly  spaced -in  indifferent  or 
sprawlu  arrangement  it  becomes 
too  illegible  for  comme/Tcial  purposes. 

aa.bcdefghyklm.tio 
pqrstav  w-vw-xyz. 

<~Divirsifie6  Capitals. 


PLATE     I . 


PLATE  E. 


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"Sem&ecorative 


" 


PLATE 


Uniform  broad-strokes-^- 
"Me  bold  Display  Italics 

abcdefghijklano 
pqrstuvwxyzeLa 

,1     '  4  /• 


this  class  of  wort- to 
be  effective -requiws 
particulai-  attention* 
to  condensed  spacing 
and  arrangement  in, 
some  geometric  form 
tvfAer  than  formation 
of letteiv-tion'tsprayl 
all-  over-  the  •  card 


A&CDEFGHIJKLMNOPQR 


PLATE 


69 


LETTERING  FOR  COMMERCIAL  PURPOSES 


Showeardwriterh  Script 

abcdQfqhiiklmnolxirdmWxu'zsi 


13345'678Qf 


Plate  1d6 


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LETTERING  FOR  COMMERCIAL  PURPOSES 


Italics  Note  slight  degree  slant. 

ABCDEFG     abcdefg-hi 
HIJKLMNO  jklmnopq 
PQRSTUVWT   rstuvwxyj 
ZZSTUVWXM     klhbdpfnmiL& 

Dlntc    l.\7  *  <J 


perpendicularly  through  center  from  top  to  bottom.  Naturally  if 
the  matter  is  evenly  distributed  on  both  sides  of  this  line  it  may  be 
considered  well  balanced.  If,  however,  we  have  various  groups  of 
masses  to  arrange,  such  as  groups  of  lettering,  decorations  or  illus- 
trations, the  question  of  balance  then  becomes  more  complicated. 
It  is  insufficient  to  balance  each  mass  individually  without  due  re- 
gard for  the  relative  effect  of  the  other  larger  or  smaller  masses, 
applying  to  the  whole  design,  within  the  given  space  limit. 

For  instance,  if  we  have  a  mass  of  lettering  situated  well  up  in 
the  left-hand  corner,  and  a  smaller  mass  to  balance  this  on  the 
right-hand  side  of  center,  it  must  be  far  enough  away  from  the 
larger  mass  or  of  a  heavier  appearance  to  denote  balance.  To  get 
this  result  we  have  to  determine  the  power  of  attraction  of  different 
size  groups  of  masses. 


Attractions  which  are  equal  in  size,  shape,  color,  etc.,  balance  at 
equal  distance  from  their  centers.  Unequal  attractions  balance  at 
distances  from  their  center  in  inverse  ratio  to  their  powers  of 
attraction.  See  Chapter  9,  Plates  V  and  VI. 

Returning  to  the  Italics,  Plate  1  is  the  regulation  single  stroke 
Roman  Italic  with  some  slight  modifications  for  rapid  execution. 
Note  the  serifs  or  spurs  on  tops  of  the  lower  case  letters  above  are 
all  on  a  right  angle  slant  instead  of  horizontal.  Likewise  with  .the 
capitals.  The  modification  below  is  constructed  with  curves  through- 
out, both  styles  lettered  with  Hunt's  400  No.  1  pen. 

Plate  2  is  somewhat  similar  in  principle,  but  an  element  of  Old 
English  is  used  in  place  of  Roman  serifs,  which  gives  it  an  entirely 
different  characteristic  appearance.  Originals  are  upright  quarter 
sheets  lettered  with  Hunt's  No.  400  pens,  Nos.  1  and  2. 

Plate  3  is  an  effective  derivative  of  Roman  Italic  and  Script ;  its 
characteristic  is  principally  effected  by  the  pen  with  which  it  is 
made — the  "Romitalic"  No.  1. 

Plate  4  in  its  fundamental  construction  is  the  same  proposition 
as  Plate  1,  the  Roman  Italic,  but  in  place  of  the  round  writing  pen 
a  Style  A  Speedball  No.  1  and  2  B  was  used,  which  strokes  impart 
the  heavy  face  display  type  appearance. 

Many  merchants  and  department  store  managers  do  not  advo- 
cate the  use  of  Italics,  but  wherever  it  is  possible  to  use  them  it  is 
done  at  a  great  time  saving  on  the  part  of  the  card  writer,  especially 
where  excess  copy  jobs  have  to  be  turned  out  in  a  limited  time.  If 
Italics  were  properly  made  and  attractively  arranged,  the  objection 
to  their  use  would  not  be  so  pronounced.  Generally,  however,  when 
a  card  writer  resorts  to  Italics,  for  speed  or  knockout  purposes,  he 
simply  neglects  the  lettering;  hence  the  objection. 


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Bold  Single  Stroke  Italic 

ABCDEFGH  abcdefghi 
IJKLMNOPQ  jklmnopqr 
RSTUVWXYZ  stuvwxyz& 

Practice  Strokes  on  the  Elements 

////nn  («oi)wwi3^!LT 

cia  Hinc^ctssc 


72 


CHAPTER  XV 


Graceful  Swing  Vs.  Laborious  Draft  in  Lettering 


IT  has  been  truthfully  stated  and  proven  by  many  of  the  fore- 
most lettercrafters  that  "there  are  no  set  rules  covering  the  art 

of  lettering."  The  above  sounds  like  a  paradox  in  that  funda- 
mentally all  letters  must  be  made  on  a  well-defined  set  of  principles 
to  be  accepted  as  correct  by  those  who  are  supposed  to  be  able  to 
pass  expert  judgment.  The  given  principles  must  be  apparent  in  all 
reading  characters,  otherwise  the  work  has  little  or  no  commercial 
or  artistic  value. 

In  the  manner  of  actual  production  of  hand-lettered  reading 
matter,  the  various  degrees  of  artistic  merit  shown  must  then  be 
governed  by  the  technique  of  the  individual. 

An  analysis  of  form,  governed  by  basic  principles,  is  a  simple 
matter,  but  an  analysis  of  technique  is  almost  impossible  unless  one 
is  thoroughly  familiar  with  all  the  mediums  employed,  meaning, 
just  what  brush  or  pen  is  used  in  each  instance,  the  exact  condition 
of  the  colors  employed  and  the  surface  worked  upon.  Also  to  get 
a  logical  insight  into  the  ways  and  means  utilized  in  the  production 
of  a  certain  piece  of  work  one  should  be  in  a  position  to  observe 
the  actual  operation. 

Given  all  these  opportunities  one  is  more  liable  to  derive  the 
correct  impression  of  how  to  proceed.  In  other  words,  the  inspira- 
tion will  have  received  a  logical  foundation  upon  which  to  build. 

In  personal  observation  of  actual  efforts  of  many  workmen,  the 
greatest  impression  received  has  been  the  vast  amount  of  mis- 
directed effort.  This,  to  the  observer,  is  an  education  in  itself.  By 
this  is  not  meant  looking  at  the  finished  production  after  it  has 
left  the  hands  of  the  operator,  but  by  watching  the  work  as  it  is 
being  done  and  noting  with  what  it  is  being  done  and  the  conditions 


under  which  it  is  being  done,  meanwhile  making  a  mental  note  of 
all  the  difficulties  encountered  and  figuring  out  all  possible  ways  of 
eliminating  these  difficulties. 

Figuring  conditions,  we  have  noted  that  many  of  the  best  pro- 
ductions are  made  while  the  operator  is  in  a  rush.  Therefore,  we 
deduct  that  anything  made  under  a  given  rate  of  speed  is  liable  to 
be  either  cramped  or  laborious  in  appearance,  or  too  stiff  to  be 
graceful.  This  does  not  apply  to  sign  writing  as  much  as  to  show 
card  writing,  for  there  are  certain  classes  of  sign  work  that  do  not 
admit  of  so  much  speed  as  the  making  of  cards.  However,  falling 
below  a  certain  speed  limit  is  disastrous  to  the  appearance  of  any 
lettering  unless  one  is  possessed  of  nerves  of  steel  and  unlimited 
muscular  control,  combined  with  extraordinary  ocular  ability. 

On  several  previous  occasions  particular  attention  has  been 
called  to  the  methods  employed  by  professional  penmen,  or  to  those 
who  have  the  ability  to  write  gracefully. 

In  these  cases  it  may  be  noticed  that  the  easy  swing  and  action 
of  the  arm,  hand  and  fingers  are  all  governed  by  a  semi-automatic 
movement  of  a  combined  set  of  muscles  rather  than  by  a  definite 
act  of  drawing  the  characters,  such  as  may  be  classed  as  draftsman- 
ship, or  hand  engraving.  Arriving  at  the  conclusions  as  to  the  merits 
of  the  different  methods  of  the  production  of  letters,  one  can't  help 
being  impressed  by  the  easy  grace  with  which  a  well-trained  set  of 
muscles  performs  any  given  set  of  movements,  almost  independent 
of  the  vision.  The  eye  only  sees.  The  muscles  act,  and  if  they  are 
not  trained  to  act  rhythmically  the  most  correct  conception  of 
form  will  be  lost  in  the  reproduction  thereof. 

Did  you  ever  notice  with  what  absolute  certainty  the  profes- 


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LETTERING  FOR  COMMERCIAL  PURPOSES 


sional  acrobat,  skater  or  swimmer  performs  his  stunts?  Can  you 
imagine  any  one  of  these  performances  accomplished  by  being 
merely  familiar  with  the  figures,  shapes,  or  diagrams  of  the  various 
forms  of  action  ?  Dancing  is  called  the  poetry  of  motion.  One  might 
be  thoroughly  familiar  with  all  the  steps  and  figures  involved  in  the 
action  of  any  or  all  the  dances,  but  without  the  necessary  mus- 
cular training  he  would  only  succeed  in  making  a  monkey  out  of 
himself. 

The  above  applies  as  a  comparison  to  the  efforts  of  many  let- 
terers.  Familiarity  with  the  correct  forms  of  letters  is  not  limited 
to  the  formation  thereof.  That  is  only  the  starting  point.  The  cor- 
rect and  graceful  formation  of  letters  can  only  be  acquired  by  train- 
ing the  muscles  of  the  arm,  hand  and  fingers  to  act  in  automatic 
unison  directed  by  the  eye  in  a  subconscious  manner  as  directed  by 
the  brain. 

I  have  noted  some  workmen  whose  hands  trembled  as  though 
afflicted  with  the  palsy,  pick  up  a  brush  and  start  a  stroke  and  end 
it  up  with  a  precision  that  was  wonderful  to  behold.  There  is  only 
one  answer  to  this  phenomenon  and  that  is,  well-trained  muscles 
which  are  under  perfect  control  "while  in  action."  If  such  a  condition 
of  nerves  existed  in  an  otherwise  normal  arm  and  an  attempt  made 
to  draw  a  letter  by  sight,  you  can  readily  imagine  the  result.  One 
could  as  reasonably  expect  a  bicycle  or  top  to  stand  upright  without 
motion. 

Therefore,  the  logical  theory  of  graceful  lettering  involves  not 
only  a  reasonably  correct  conception  of  form,  but  in  formation  by  cor- 
rect motion  or  motive  form  of  "the  hand  behind  the  brush." 

Repetition  of  certain  acts  becomes  more  natural  and  easy,  after 
continued  practice  intelligently  directed ;  for  example,  make  a  dozen 
straight  lines  on  a  45-degree  slant,  then  make  a  dozen  more,  then 
make  a  dozen  with  your  eyes  shut.  Try  the  same  operation  with 
any  of  the  single  elements  of  any  letter.  Keep  on  repeating  this 
dose  until  confidence  in  your  arm  action  improves.  Make  circles, 
perpendicular  and  horizontal  straight  lines,  single  letters,  then 
words,  with  your  eyes  shut.  They  will  not  be  pleasant  to  look  at, 


but  there  is  a  wonderful  stock  of  subconscious  intelligence  in  your 
muscles  if  you  take  the  trouble  to  develop  it. 

The  accompanying  plate  demonstrates  the  easiest  way  to  learn 
how  to  preserve  a  uniform  degree  of  slant.  The  legibility  and 
artistic  effort  of  all  Italics  depends  largely  on  uniformity  of  slant. 

With  a  T  square,  draw  light  pencil  guide  lines  on  any  desired 
degree  of  slant  and  make  all  your  down  strokes  as  nearly  as  pos- 
sible conform  to  this  degree. 

Practice  the  elements  of  the  letters  as  prescribed  above,  a  dozen 
or  two  of  each,  with  increasing  speed  every  time.  Then  try  them 
with  the  eyes  closed.  Train  the  arm  to  act  automatically.  Do  not 
draw  the  letters,  but  make  them  with  a  free,  swingy  movement. 

I  want  to  slip  a  prescription  to  some  of  you  fellows  whose  arm 
feels  groggy ;  in  other  words,  if  you  are  drawing  your  lettering  like 
you  would  draw  the  picture  of  a  stone  wall,  go  and  take  a  short 
course  in  penmanship  exercises  from  some  good  modern  instructor 
and  then  try  it  out  with  a  brush,  using  the  same  method  of  construc- 
tion as  taught  in  penmanship.  This  will  put  a  "kick"  in  your  letter- 
ing that  can  be  derived  from  no  other  source,  and  after  you  have 
acquired  the  freedom  of  arm  action  so  necessary  to  the  production 
of  letters,  you  will  find  it  easier  to  "knock  'em  out"  with  a  punch. 

For  the  present  you  will  find  a  few  exercises  illustrated  in 
Plate  A,  which  was  produced  in  less  than  five  minutes,  size  14  x  19. 

This  is  my  favorite  prescription  for  "brush  arm"  that  works 
like  a  concrete  mixer.  It  will  cure  most  cases  of  muscle-bound  let- 
tering and  in  all  cases  prove  beneficial. 

It  seems  that  every  doctor  has  a  favorite  prescription  for  cer- 
tain ailments.  Every  teacher  has  likewise  a  favorite  method  of 
instruction.  All  trainers  or  coaches  in  athletic  pursuits  have  definite 
rules  and  regulations  that  apply  to  the  various  stunts  to  be  per- 
formed by  the  teams  or  individual  members  thereof. 

Naturally  these  treatments,  teachings  and  training  stunts  have 
been  pretty  well  tried  out,  tested  and  improved  upon  from  time  to 
time  as  suggested  by  the  requirements  of  the  subjects  and  the 
results  shown  by  the  effect  of  the  same. 

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Ontt  ;b  excellent  lrus)i  practice  fir  the  5how  (Sarbtewiter. 


Plate 


Prescribing  for  one's  ailments  without  a  correct  diagnosis  is 
usually  taking  chances  on  getting  results. 

Instructing  for  the  masses  may  be  beneficial  in  a  certain  degree, 
but  only  a  small  percentage  derive  the  full  benefit  owing  to  dif- 
ferences in  mentality  or  physical  make-ups. 

Training  a  baseball  team  as  a  team,  may  make  a  good  team,  but 
putting  each  individual  member  through  the  same  physical  exer- 
cises may  result  in  disaster  for  some  member  who  is  deficient  in 
physique. 

These  inferences  may  be  applied  to  the  art  of  lettercraft.  The 
various  contributors  of  articles  instructive  can  go  no  further  than 
present  the  subject  to  the  readers  as  a  class,  trusting  that  a  certain 


percentage  will  be  benefited  by  following  certain  methods  that  have 
proven  beneficial  to  others. 

The  human  being  is  one  of  the  most  wonderful  pieces  of  me- 
chanism imaginable,  and,  while  we  are  all  put  together  on  the  same 
plan,  no  two  are  alike,  either  as  regards  mentality  or  physical  capa- 
bility, consequently  each  individual  has  to  work  out  his  own  salva- 
tion in  which  every  line  of  endeavor  is  pursued. 

A  natural  mechanic  may  make  an  indifferent  artist,  even  though 
his  desires  may  be  for  that  line  of  work. 

With  the  proper  training  and  instruction  he  may  become  suffi- 
ciently proficient  to  pass  as  the  average,  but  never  rise  above  me- 
diocrity. Localities  and  associations  have  a  weighty  bearing  on 
the  class  of  work  an  individual  may  produce.  There  are  various 
reasons  for  this.  First,  being  the  competitive  spirit ;  second,  the 
constant  contact  of  sight  with  certain  objects  or  forms,  which 
causes  a  mental  imprint  that  is  easier  to  reproduce  than  a  vague 
impression.  Seeing  an  act  performed  or  an  object  constructed  ren- 
ders a  better  and  clearer  idea  of  just  how  to  proceed.  Thus  it  will 
be  noticed  that  in  certain  localities  there  will  be  certain  lines  of 
endeavor  performed  that  are,  as  a  class,  far  superior  to  similar  lines 
in  less  favored  localities.  This  is  due  to  the  imitative  instinct  of 
humanity.  The  same  may  be  said  of  the  lower  forms  of  life. 

For  example,  take  the  habitant  of  any  large  city  who  comes  in 
daily  contact  with  any  given  line  of  work;  his  endeavors  will 
progress  more  rapidly  than  if  he  were  struggling  single-handed  in 
some  locality  where  lack  of  inspiration  hampers  the  best  efforts 
ever  attempted.  Even  though  he  be  the  "best  in  the  business"  in 
his  home  town  the  handicap  is  too  heavy  to  overcome. 

Ambition  is  the  greatest  of  all  things.  If  it  be  strong  enough, 
hampered  ambition  is  worse  than  the  drug  habit ;  it  puts  a  kink  in 
the  mentality  that  results  in  the  "rut,"  and  the  man  or  woman  who 
is  in  a  rut  might  better  be  doing  time  for  the  state. 


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Individual  Style  Italics 


opqrs  uvwxy2%$- 

^And  a  series  of  different  style  Capitals— 

AABCCDEFGHIJKLMN 
M OPQRSTUVWXYZZ 


Plate  m 


76 


CHAPTER  XVI 


Speed  Limit  in  Lettering  Show  Cards 


IN  close  observation  of  the  work  of  many  card  writers,  one  can 
not  fail  to  see  that  lost  motion  is  the  primary  cause  of  slow 

work.  In  constructing  a  letter  by  the  single  stroke  method  every 
individual  stroke  of  the  brush  or  pen  should  count  as  a  finished 
element  of  that  letter.  Every  time  a  stroke  requires  re-tracing  or 
patching  up,  50  per  cent,  of  time  is  lost.  A  haphazard  burst  of 
occasional  speed,  with  the  consequent  result  of  doctoring  up  the 
mistakes  in  formation  or  altering  the  ill-appearance  of  the  finished 
job,  usually  costs  more  time  than  the  job  is  worth,  and  a  patched-up 
job  always  looks  the  part. 

Regardless  of  what  tool  you  are  working  with  you  must  be 
reasonably  sure  of  its  limitation.  By  this  is  meant  what  manner 
or  style  of  letter  will  any  certain  brush  or  pen  make  with  the  least 
amount  of  effort  on  the  part  of  the  workman. 

Any  make,  style  or  size  brush  will  be  found  useful  for  making 
some  particular  style  of  lettering  if  you  are  familiar  with  that  style. 
If  not,  right  there  is  where  you  begin  to  lose  time  in  construction. 

Any  capable  workman  can  pick  up  any  old  stump  with  whiskers 
'and  in  a  few  trial  strokes  will  determine  just  what  particular  style 
letter  can  be  most  easily  made  with  it,  and  in  all  probability  will 
turn  out  something  characteristic ;  but  it's  a  safe  bet  he  will  not 
attempt  a  style  composed  of  elementary  strokes  that  the  brush  will 
not  produce  naturally. 

Every  individual  brush  has  its  own  particular  working  limitation. 
It  may  produce  a  certain  style  of  letter  with  automatic  precision 
and  be  almost  useless  for  making  other  styles  having  a  different 
characteristic  finish.  It  requires  considerable  study  and  experiment 
to  determine  what  brush  or  pen  is  best  adapted  to  the  various  styles 


of  lettering,  especially  to  choose  a  tool  best  calculated  to  save  time 
on  certain  classes  of  work.  Then,  again,  the  amount  of  color  carried 
in  a  brush  often  changes  the  style  of  the  letter.  If  you  start  a  line 
of  lettering  with  a  brush  full  of  color,  the  brush  must  be  kept  full 
by  frequent  dipping  or  the  lines  will  gradually  thin  out  as  the  work 
progresses,  resulting  in  a  changed  appearance  of  the  line. 

If  the  line  is  started  with  a  brush  well  chiseled  out,  it  should 
be  kept  in  the  same  condition  throughout  to  maintain  similarity. 

These  details  will  become  apparent  after  continued  experiment 
because  they  are  secondary  as  compared  to  the  first  principles  of 
production,  of  which  particular  mention  was  made  previously, 
namely,  the  automatic  production  power  of  the  arm,  hand  and 
fingers,  which  can  only  be  successfully  attained  by  cultivating  a 
freedom  of  movement  through  a  series  of  drill  exercises,  such  as 
has  been  so  ably  demonstrated  and  proven  by  our  modern  in- 
structors in  penmanship. 

Something  on  this  order  is  presented  in  Plate  G.  In  this  par- 
ticular instance,  a  14  x  22  card  is  suitably  ruled  and  a  No.  12  Rigger 
brush  is  used,  carefully  chiseled  out  to  widest  proportion,  in  medium 
heavy  color. 

The  strokes  produced  by  the  brush  held  in  the  proper  position 
are  practically  automatic  and  characteristic  of  the  brush  used.  They 
can  be  made  at  a  fairly  good  rate  of  speed,  which  should  be  gradu- 
ally increased. 

A  few  spare  moments  each  day  may  be  devoted  to  these  exer- 
cises, and  it  will  soon  be  noticed  that  a  decided  confidence  is  ac- 
quired in  your  ability  to  produce  a  clean-cut,  rapid  stroke. 

Plate  H  represents  an  Italic  alphabet  based  on  the  same  series 


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Spot)  movement 

mim-iuw  mm 
aacaoooowi 
urn  s  m  sm 

G88SD 1231567890$$$ 


WNWMM 


Watt  A 


Spaced  Italics 
abcdefgh  ijklm  n  opp 
qrstuvwxyyz  aaw 

mi  dmwbvtitu/  A  mkwdfm 
1 


abcde/ghyklmn. 
opqrstavwwxy 

^CAPITALS 

JtBCDEFGHIJ 
KLMNOPQRS 
TUVWXYZ& 


of  elementary  strokes  showing  both  wide  and  condensed  spacing. 

The  finished  product  more  often  obtains  its  characteristics  from 
the  tools  used  than  from  the  operator.  There  is  a  pen  or  brush  par- 
ticularly adapted  to  the  making  of  every  known  alphabet,  in  that 
the  particular  pen  or  brush  produces  the  elements  automatically 
if  properly  used  in  the  right  quality  of  color. 

Considerable  has  been  mentioned  in  previous  chapters  regard- 


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obqr<s(u 

£i 


V 


aracf( 

X^   v""x 

hand  cBrusk 


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ma*. 


Plate  MO 


ing  Italics  and  slant  letters.  In  this  instance,  attention  is  called 
to  the  difference  between  the  so-called  slant  letters  and  true  Italics. 

All  Italics  are  based  primarily  on  script,  while  slant  letters  may 
be  compiled  from  any  alphabet — Roman,  Gothic  or  the  Text  faces — 
by  simply  making  them  on  any  degree  of  slant,  preserved  in  unity 
throughout  the  copy. 

There  is  no  exact  rule  regarding  angle  or  slope.     In  extreme 


styles,  30  to  35  degrees  from  the  vertical  may  be  attempted,  but  10 
to  20  degrees  is  a  normal  range. 

Slant  or  Italics  are  not  as  legible  as  vertical  letters,  but  in  cer- 
tain instances  where  emphasis  is  required  they  serve  the  purpose 
admirably,  more  perhaps  by  direct  contrast  than  by  actual  legibility. 

The  Italics  being  immediately  derived  from  script  or  writing, 
adapt  themselves  to  production  with  the  lettering  pens  or  the  so- 


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called  single  stroke  brushes  as  used  almost  exclusively  by  show 
card  and  sign  writers. 

Many  commercial  artists  and  letterers  have  yet  to  acquaint 
themselves  with  the  labor  and  time-saving  facilities  of  these  par- 
ticular  implements  of  the  craft. 

Lettering,  as  taught  by  "Old  School"  methods  and  instructors, 


was,  and  still  is  for  that  matter,  largely  a  matter  of  draftsmanship 
based  on  the  accepted  forms  of  the  letters.  The  student  is  taught 
to  draw  the  letters  according  to  rule,  much  the  same  as  drawing 
the  front  elevation  of  any  inanimate  object  in  two  dimensions  ; 
namely,  height  and  width. 

First  :   "You  have  only  to  learn  the  forms  and  then  draw  them." 


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Pabst  Italic  '% 

ABCDEFGHIJ 
KLMMOPQfL 
STUVWXYZ& 

^1234567690 


PLATE    142 


Having  done  this  little  thing,  the  student  is  left  to  his  own  devices 
regarding  materials,  modern  tools  of  the  successful  present-day 
craftsman  and  methods  of  production  and  arrangement.  Be  it  said 
here  that  unless  a  person  is  naturally  adapted  to  this  class  of  work, 
inventive  in  overcoming  the  difficulties  presented  in  handling  the 
materials  prescribed,  in  the  production  of  commercially  acceptable 
lettering,  that  person  has  chosen  one  of  the  most  unsatisfactory 
and  unremunerative  methods  of  turning  his  labor  into  coin  of  the 
realm  that  could  be  imagined,  without  taking  a  "shot  in  the 
arm." 

Be  not  mistaken  in  the  foregoing  that  the  study  of  individual 
forms  of  letters  is  to  be  overlooked.    This  is  primarily  paramount. 


raost  italic  lower  case 
aocaejg  kijk/mn 
op  qrstu  vwxyz& 

J\otenign  ascenders  ana  me  low 
decenders  in  this  style  of  letter. 


PLATE    143 


One  must  have  a  logical  insight  into  what  he  is  trying  to  accomplish. 
To  this  end  the  study  of  lettering  in  its  various  combinations  and 
forms  is  of  the  utmost  importance  and  should  not  be  overlooked. 

In  the  production  of  letters  and  lettering,  however,  there  has 
been  a  wide  departure  from  the  "Old  School"  teachings  to  the 
methods  of  the  present  day. 

Many  concede  that  the  methods  of  the  modern  show  card  and 
sign  writer  have  done  more  to  bring  the  standard  of  lettering  up 
to  its  present  state  of  excellence  in  general  appearance,  and,  con- 
sidering the  length  of  time  consumed  in  the  production  thereof  as 
compared  with  the  old  school  methods,  let  us  consider  all  argu- 
ments to  the  contrary  eliminated,  at  least  for  the  present. 


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SCRIPT  LOWER  CASE 


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Jflixed  Roman  Text  Italics 

abcdefghijklmno 

pqrstu  v  ulxyz  $ 
AS  CDETO}(1JK£M 


Plate  144: 


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Quick  Single-stroke  Modification  of 

Jctiscti  Old  Style  Type 

abcdefgRijklmnopqr 
stuvu          wxyzs 

ABCDEFGHIJKLMN 
OPQRSTUVWXYZ^ 


PLATE  145 

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FROM  FORUMS 

ABCDEFGHIJK 
LMNOPQRSTU 

VWXMM1D-Y7& 

RAPID  BRUSHABLE  VARIANT 


PLATE   146 


87 


-\ 

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UNIQUE  VARIATION 

CDEFGH 
I J  KLMNOP 
QBSTUVWX 
Y1234567S90Z 

ab  c  de  f ghikj  mlnop 
qrsluv 

^••^ 


PLATE 


LETTERING  FOR  COMMERCIAL  PURPOSES 


ABCDEFG 

JKLMNO 

QRSTUW 
XT 

PLATE  lie. 


D 


89 


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abcdefgABCDEE 

GfflJIKL 

pqrstuvMNOPQ 
wxy^w^RSTUVT 


Plate  l-±9 


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6emi-  Decorative  Single-stroke 

abcdefgkijk 

Imnopqrstu 


ABCDEFGHIJKLM 
NOPQRSTUVWXY 


Plate  15O 


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nopqr  s  tuvwxyz 


_  few  quick 
alternates 


e  s  vwxysz 


aDca<2i 


nnKimno 
pqrstuvwvwxyzs 


Plate  151 


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Improvised  Letter  Fornration  for  body 
copy-  paragraph  or  page  arrauap- 
ment.  Use  hill  round  ovals,-  condense 
he  vertical  elements-and  a  sli(gktly  — 
broken  alignment  adds  to  fhe  unique 
appearancQ  of  tke  entire  production. 


mnopqrstnvwwxYz 

Plate  152 


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MIJKUVfNO 


Capitals-  Plate 


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cmuoo3 
fine  cloze 


Hcfuor 


to  fit  in  snio  1 1  space 


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xnoirprx 


LETTERING  FOR  COMMERCIAL  PURPOSES 


ABCDEFGHIJKLM 
ABCDEFGHUKLM 

COMPARISON 

NOPQRSTUVWYZ& 


abcdefghijklmnopqrsfu. 


vwx 


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Adapted  to  Single-stroke  Brushwork 

*  *\        r*      *\  1     - 

abcdeighijklmnopqrs 

123  tuvwxyza456 
ABCDEFGHIJKLMNO 


7690PQRSTUVWAYZ8 


nopqrstuvwxyza 


98 


CHAPTER  XVII 


Fundamentals  of  Speed  Work 


IF  we  still  copied  the  earliest  efforts  of  lettercrafters  it  would 
require  the  services  of  eleven  men  and  several  helpers  to  accom- 
plish in  a  week's  work  what  one  average  show  card  writer  turns 
out  in  a  few  hours.    Put  the  same  average  present-day  show  card 
writer  on  the  same  class  of  work  required  of  the  old-timer  and  the 
situation  would  be  reversed  in  the  order  above  mentioned. 

The  evolution  of  reading  characters  (letters)  is  mainly  respon- 
sible for  the  record-breaking  burst  of  speed  in  lettering  of  the 
present  day.  Whereas,  our  predecessors  used  carefully  modeled 
upper  case  letters  in  most  all  their  copy,  we  of  today  have,  by 
necessity,  devised  certain  alphabets  that  permit  of  greater  speed 
in  execution.  The  changes  have  occurred  gradually,  caused  prin- 
cipally by  necessity. 

The  fundamental  principles  of  letters  have  remained  unchanged 
throughout  all  time  of  which  we  have  record.  Modernisms  are 
simply  the  evolution  of  old-time  forms  devised  with  a  view  of  ac- 
complishing the  same  or  better  results  with  less  effort  in  less  time. 
Where  books  were  all  lettered  by  hand,  long  before  the  art  of 
printing  was  thought  of,  the  scribes  devised  contractions  of  the 
Roman  characters  in  order  to  speed  up.  This  was  the  beginning  of 
various  styles  of  script,  upon  which  our  present  systems  of  pen- 
manship are  primarily  based. 

Small  letters  are  abbreviated  contractions  of  capitals,  and  were 
only  brought  into  general  use  after  the  art  of  printing  was  devised. 
The  evolution  of  the  various  styles  of  small  letters  may  be  directly 
traced  back  to  script,  penmanship,  the  art  of  writing.  All  Italics  are 
based  on  script ;  all  vertical  small  letters  bear  a  close  resemblance 
to  vertical  script,  "roundhand."  By  eliminating  the  connecting 


lines  and  loops  of  the  extended  letters,  which  appear  in  round  writ- 
ing, we  have  a  very  close  resemblance  to  lower  case  Roman.  In- 
dividual designers  of  new  letters  and  alphabets  have  kept  this  basic 
principle  intact,  regardless  of  all  the  curlycues  added  as  embellish- 
ment. 

Today  we  are  all  sawing  back  and  forth,  devising  reading  char- 
acters from  fixed  principles  ages  old.  Those  who  associate  the  prin- 
ciples with  their  work  succeed  more  or  less  according  to  their  in- 
dividual qualifications.  Those  who  depart  from  the  fixed  principles 
contribute  largely  to  the  waste  paper  supply. 

Naturally,  by  eliminating  as  many  useless  lines  as  possible,  we 
save  time  in  the  production,  but  if  we  strip  an  alphabet  of  all  its 

£^ 


a  b 
jt  cj  A6i 


w  v  w  ~&% 


SYalc    1 

embellishments,  we  are  right  back  to  the  bare  skeleton  principles 
of  upper  and  lower  case  Egyptian,  Gothic  or  the  Roman,  minus 
serifs,  either  of  which  will  not  answer  the  present-day  require- 
ments. The  question  of  just  how  much  chopping  an  alphabet  will 


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f 


adopted  Jjot  bpudu 

&v  U-\          .  L         0 

'WuCet^/^ 


Three  different  types  of  lettering  based  on  rpund- 
-twitmcj,  particiiladij  adapted  for  Speediuork 

abcdef^hijklmnopqrstiunp  Jijgz  etc. 


eliminating  bop  ani  connecting  liney  spacing    more 
conteco  anb  regular-  Che  aMition  of  serifs  or  spurs  luill 
demonstrate  the  evolution  of  many  of  our  more  modem 
conception*  of  artistic  alphabets,  which  are  ecfcilij  an6 
raiaw  ma6e  bij  those  u>to  iwork  an6  practice  on  certain 
ruk>  cjouerne6  bu  funoamental  principle^—* 

2. 


abcdefgliijlelinnopq^ 
rstuvw    &—  ' 


tPfatc  3 


Originals  of  these  plates,  22  inches  wide,  lettered  with  a  No.  12  Red  Sable  Rigger. 


stand  without  losing  its  identity  or  its  attractiveness  is  a  problem. 
In  very  many  cases  this  chopping  out  process,  as  a  time-saving 
expedient,  necessitates  the  substitution  of  some  additional  trim- 
mings, and  unless  these  changes  are  accomplished  on  a  time-saving 
basis  without  sacrificing  the  general  appearance,  your  effort  has 
been  wasted ;  furthermore,  it  must  be  understood  that  while  certain 
additions  may  be  made  on  some  individual  letters,  the  same  treat- 
ment on  the  other  members  of  the  same  family  would  be  disastrous 
to  the  appearance  of  the  entire  alphabet.  Herein  lies  the  chief  diffi- 
culty of  the  designer. 

There  are  some  alphabets  that  respond  readily  to  a  change  of 
appearance  without  losing  their  family  resemblance.  For  instance, 
many  beautiful  styles  of  Italics  may  be  derived  from  the  principles 
of  penmanship,  the  main  point  of  observation  being  a  uniform  de- 
gree of  slant.  If  this  point  is  lost  the  entire  production  is  thrown 
out  of  joint ;  then  there  is  the  gradation  of  thickness  of  lines  to  be 
considered.  The  position  of  holding  the  brush  or  pen  on  the  mark- 


ing surface  is  responsible  for  these  effects.  If  the  broad  point  of 
the  pen  or  brush  is  held  at  right  angles  with  the  card,  the  heaviest 
part  of  the  letter  will  naturally  be  midway  of  the  height  of  the  oval 
or  circular  elements.  If  the  pen  or  brush  be  held  with  the  broad 
point  toward  the  upper  left  hand  corner  of  the  card,  the  heaviest 
line  will  be  on  rounding  the  curves  on  the  lower  left-hand  and  upper 
right-hand  points  of  the  oval  or  circle  ;  consequently,  in  making  any 
alphabet,  to  preserve  uniformity  throughout,  the  brush  or  pen 
must  be  manipulated  in  exactly  the  same  position  on  every  single 
element  and  letter,  otherwise  you  are  not  taking  advantage  of  the 
potentialities  of  the  tool  with  which  you  are  working.  This  fact 
will  be  thoroughly  demonstrated  and  illustrated  in  additional  plates. 
In  the  present  instance  we  take  the  old  style  German  round- 
script,  Plate  1,  which  in  itself  is  a  very  beautiful  style.  It  partakes 
its  character  from  the  implement  with  which  it  was  originally 
made,  namely,  a  broad,  flat  pen,  probably  fashioned  from  a  reed 
or  quill ;  later,  a  steel  pen,  modeled  somewhat  similar,  like  the 


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modern  Soennecken  or  Hunt's  No.  400,  or  others  of  a  like  character. 
The  chisel-edge  brush  of  the  modern  show  card  writer  answers 
the  same  purpose  on  a  larger  scale,  if  desired.  A  close  observation 
of  the  elements  of  this  letter  shows  that  in  its  production  the  broad 
point  of  the  brush  or  pen  points  to  the  upper  left-hand  corner  of 
the  card,  which  is  at  right  angles  with  the  desk,  or  table. 

A  stroke  directly  downward  is  slightly  less  than  the  width  of 
the  pen.  In  rounding  curves  it  is  broadest  on  upper  right  and  lower 
left  of  the  circle  or  oval.  An  up  stroke  to  the  right  is  naturally  a 
thin  line,  automatically,  if  the  brush  is  held  correctly.  Note  Plate 
104,  showing  these  positions. 

There  are  several  alphabets  which  are  easily  and  rapidly  made, 
using  the  same  principles  applied  to  the  round-hand.  The  connect- 
ing lines,  which  require  wide  spacing,  are  eliminated;  loops  are 
left  out,  as  in  lower  section  of  Plate  2,  and  in  Plate  3  are  shown 
three  simple  alphabets  devised  from  the  round-hand  principles. 


First  is  condensed,  has  rounded  terminals,  except  on  extended 
or  loop  letters ;  these  are  left  sharp  without  loops,  which  may  be 
added  if  desired  and  time  permits. 

Second,  condensed  spacing;  angular  spurs  are  added  wherever 
possible. 

Third,  extended  spacing  and  round  effect  letters,  more  like  the 
original  round-hand,  slightly  curved  tops  added,  with  just  a  sus- 
picion of  a  rounded  spur  on  the  base  tips.  This  letter  is  very  grace- 
ful when  properly  grouped  and  spaced  in  reading  form.  It  also  has 
the  added  value  of  being  adapted  to  very  rapid  work. 

Observation  shows  where  this  letter  may  be  converted  into  true 
lower  case  Roman  with  the  addition  of.  the  slight  changes  required. 

This  will  demonstrate  how  we  are  working  back  and  forth,  from 
one  alphabet  to  another,  without  change  of  basic  principle,  by 
simply  rearranging  the  elements  in  different  combinations,  and  the 
addition  or  subtraction  of  exterior  embellishments. 


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anged 


QRSTUV 


Plate  158 


102 


CHAPTER  XVIII 


"Poster  Styles"  of  Lettering  for  the  Card  Writer 


FOR  want  of  a  better  name,  the  various  characteristic  styles  of 
lettering  in  vogue  with  poster  artists  are  usually  dubbed  "pos- 
ter style."    As  a  matter  of  fact,  every  one  of  them,  numbered 
by  the  dozens;  is  based  on  some  particular  standard  alphabet  of 
recognized  commercial  and  artistic  merit. 

They  are  original  only  so  far  as  individual  treatment  and  tech- 
nical twist  or  pleasing  peculiarity  is  concerned.  Anyone  familiar 
with  that  style  immediately  recognizes  and  thereafter  associates 
with  the  individual  who  produced  it,  called  it  the  Joe  Whosus  or 
Solly  Somone's  alphabet  and  thereafter  that's  its  name.  Along 


ROUND  TERMINAL  POSTER 


DEFGHUKL 
MNOPQRSSTU 

YZ& 


CONSTRUCTION 


Plate  XL . 


comes  someone  else,  puts  another  kick  in  it  and  its  identity  is  again 
changed. 

We  are  largely  indebted  to  continental  Europe  for  strikingly 
attractive  styles  of  lettering,  particularly  to  France  and  Germany. 
The  German  artists  have  a  decided  penchant  for  the  bold,  black-face 
types,  based  on  Gothic  styles,  very  loose  and  sketchy  Adaptations, 
yet  extremely  strong  and  rugged  in  general  appearance,  with  very 
few  hairlines,  consequently  largely  in  demand  for  display  adver- 
tising, particularly  where  strength  and  weight  lend  value  to  the 
subject. 


BiBCK-MCE  POSTER 


HBCDEFGHIJ 
KLMNOPOR 

STUVWXYZS 


AUTOMOBILES 


Plate  V. 


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The  French  adaptations  of  letters  are  the  direct  antithesis  of 
German  modifications,  delicate,  graceful  curves,  hairline  effects,  and 
are,  we  believe,  based  on  the  Renaissance  style,  which  succeeded 
the  Gothic  in  the  fifteenth  century.  Each  style,  however,  is  admir- 
ably adapted  to  certain  classes  of  printed  or  hand-lettered  publicity, 
either  with  or  without  appropriate  illustrations  pertaining  to  the 
subjects  advertised. 

If  it  be  related  to  delicate,  flimsy  or  artistic  articles,  such  as 
lingerie,  millinery,  jewelry  and  the  like,  a  light  face,  graceful  letter 
should  be  relatively  selected.  Whereas,  if  one  were  designing  an 
ad  or  making  a  display  card  pertaining  to  power,  transportation, 
steel  or  ironware,  a  good,  strong,  bold  face,  rugged  letter  should 
be  used. 

Lettering,  as  well  as  illustrative  matter,  should  always  be  in 
harmony  with  the  subject. 

Plate  X  represents  a  popular  adaptation  of  a  black  face  poster 
letter,  of  which  there  are  many  different  styles,  black  face  being 
a  term  applied  to  any  type  of  letter  in  which  less  background  is 
visible  than  the  space  occupied  by  the  letters. 

For  a  demonstration  of  constructive  strokes  used  in  making  this 
letter,  the  strokes  are  laid  on  in  outline  formation  and  not  filled  in. 
This  may  give  the  reader  an  idea  of  how  to  proceed  in  building  up 
letters  of  this  character  which  have  for  a  basic  principle  the 
elements  of  Gothic  letters,  broadened  out.  A  slight  variation  of 
the  correct  form  gives  it  an  individual  character  and  the  condensed 
spacing  intensifies  the  black  face  effect  when  filled  in. 

Note  Plates  U  and  V. 

Plates  Y  and  Z  are  illustrative  of  different  style  poster  letters 
based  on  the  Roman  upper  and  lower  case.  If  one  attempts  the 
construction  of  this  particular  style  letter  by  the  outline  method, 
the  result  will  be  a  failure,  for  the  strokes  which  impart  its  chief 
characteristic  will  be  lost. 

The  original  of  each  of  these  subjects  is  about  15  x  26.  A  No.  15 
brush  was  used  throughout,  being  well  loaded  with  heavy  color  and 
held  nearly  vertical  (straight  up),  and  in  the  formation  of  each  let- 


The  difficulty  of  desiqninq  1 
L  a  nem  stijfe  of  lettering 
does  not  prevent  the  axribv 
tious,  intelligent  desiqner** 
from  obtaining modifications 
of  existinq  stipes  that  are  ** 
suff icientlu  different  to  virtu 
constitute  a  new 


% 


abcdeiohijMmnopqrst 
uuur  xtgz 

JIBCDEFGHIJKIMNOP 
QRSTUWW  WXYZS2 


a  lieauu-iace  letter 
desiqneo  to  meet  a. 
requirement  of  bold 
display  in  -small  space 


Plaie  w. 

ter  the  color  is  allowed  to  flood  on  pretty  heavy,  thereby  prac- 
tically moulding  the  elements  as  the  strokes  proceed.  There  are  no 
hairlines  in  these  types.  A  mislick  will  not  injure  the  general  ap- 
pearance. Even  a  deviation  from  alignment  is  permissible,  provid- 
ing the  general  alignment  is  held  straight. 


104 


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PLATE  X 


CONSTRUCTIVE  UTROKEJ  OF&POPUL71RL 

PO/TER  LETTERING 


You  will  particularly  note  that  the  spurs  or -serifs  on  these  let- 
ters are  not  intended  to  be  straight  on  the  base  or  top  lines.  They 
are  blunt  and  of  a  compound  curve  formation  which,  with  a  little 
intelligent  study  and  persistent  practice,  may  soon  be  executed  in 
an  automatic  manner  with  greater  rapidity  than  if  carefully  drawn 
out  and  the  color  smoothed  over  and  spread  evenly. 


This  is  essentially  a  knock-out  speed  letter.  You  will  find  that 
by  spending  a  little  more  time  on  sketching  an  attractive  layout 
with  a  piece  of  charcoal  or  pencil,  and  a  little  less  time  on  the 
laborious  drafting  of  each  letter,  that  the  general  speed  average  of 
a  day's  work  will  amount  to  considerably  more  than  antici- 
pated. 


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•         1  <    Axmsti 

i  abed  i  as • 
jijklm 

r  s  tuv-  8»tX  swxy 

^    ig  tn<?  foiwation  of  •  *f; 

^4|  If   M  VI      letters  without/      f  l^.fi 
I  V^JKVJL^JL  ^  I  extra  retoucSin^  i  ^^  \-^V/ 


PLATE -Y- 


106 


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mmm 


j 

i 


IABCDEFGHI 
!  KJLNOMPMST  j 


PLATE  •  Z 


107 


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abode      J_ 
Imnopq 

rstusi      vwxyz 

abcdefghijklmnopqrs 
t  TJL  ^s  w"  x.       z  ^ 


gmn 


opqrstuvwxyz  &s- 


Plate  IS© 


ABCDEFGH 
IJKLMNOPQ 

RSTUVWAYZ 

ab  c  d  e  f g"h  ij  kl  mn 
opqrsmvwxyz. 


PLATE    161 


abcdefgABCDE 


qrstuwLMNOM 
PCBSTUVWXY& 


Plate  16O 


Evety  Iti&viclual  Brushy 

tas  its  own  peculiar  xrocfootf  limit- 


108 


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ABCDEFG 

H IJ  KLMNO 

PQR  STUV 
WWXVWYZ 


PLATE   162 


109 


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aDcaeigrii 

jklmnopqr 


stuvwxvz 


PLATE    163. 


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ALPHABETS  IM:  sT^'Speedball" 

The   quick  brown  fox  jumped  over  the  la^y  dog's.  -*• 

Pack  inn  box  with  five  dozen  liquor  ju^s  42* 
John  prhly  extemporized  five  toiu  bags  ™s  -(\e 

tame  ^3 pen  turned  over  on  iti  back-  Rig'hf 

pack  my  box  with  five  dozen  liquor  jugs.* 

•Jnd  mile -a-minute  marking- bold  face  Italics  $265.- 

Outline  LETTE1S  all  styles 

Modern   STAHDARD    QIitigjie-Freak;  ®r 
/^MTiaCIE-  c5howCard6t^tc  ^oman^ 

01iTCnglisi)    and  many  others  123^567890. 


men  and  young  men  who 
like  a  Spirited  JndiiMwty  in  your 
clothing  Tvdll  find  your  -wants 
-\flell  expressed  h  these  garments. 
^JKor^s  a  dMnctmlianMty  <S clever 
designing  and  good  taste  that 
appeals  to  men 


Plate  161 


is  not  Qie  basic  principle  of  art 

in  hand-craft  lettering, 

---   if  critic  ism  consisted  of  indi- 
vidual letter  analysis  according, 
to  type. or  the  standard  alpha- 
bets, Hand  Let tercraft  would 
cease  to  exist  as  an  applied  art. 
—  Its  individuality,  would  be. 
lost -thereby  its  real  value,  both 
from  an  artistic  and  commercial 
viewpoint,  tyowew-  fhi>  does- 
not  intply,;tKot  baric  principle 
should  be  rf-ocrificed  for  ^frfc" 
or  D  rainstorm  individuality. 

Safety  Firit- 
be  Keutreil  '. 


111 


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Brush  Stroke 


Jil&CDEFGHIJKLI 


Plate  165 


112 


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^Practical  alphabets  derived  from  the 

Old  English 

Combine^  with,  tfie  more  legible  elements  of  the  Roman 


oabcdcf01iijklmnbc[rs 


a  semi  decorative  letter  that  admits  rapidity  of  execution 
with  either  ehisel-c&je  brush,  or  flat  lettering  pens  — 

Plate    160 


abcircf^hijklran 


Tlate 


Capitals   lit 


102 


s  fermrir  frmn 

mcntary  Principles. 

mi  j  \\\\\ :  to  "  s  it  r  s  M  o  Jj  ^ ut 


im  djaractcristic 

Plate  .169 


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OrUCf  characteristic  of  tkts  letter  is  imposed  by  the  manner 
of  Rotaing  and  manipulating  a  flat  chiseled  brush  or  flat  lettering 
pen-  as  illustrated  in  plates  ft~s    IO4-  Position  2. 

aattb 

the  above  is  lettered  throughout  without  changing  position  of  holding  the 
pcti,  which  accounts  for  the  angular  serifs  hoth  on  top  and  base  of  letters  .^ 


it  ts  impossible  to  impart  unijormit)>  to  Capitals  derived  from  mixed  sources 

Plate    17O 


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Plain-Rapid  Romitalic  Letters 

Particularly  adapted  for  fast  legible  Show  Card  Anting 
in  either  Vertical  Roman  or  Roman  italic  Lettering 

abcdefghijklmnopqrs 

|ft  :         :  tUVWXyZ 


ij 


b>  c  ci.e 


m  n  o  p 


mnopciduTOp  in  condensed  foil 


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QobMs  (tikis  nature  are  suitable  for  initials  only. 
or  tic  first  letter  of  a  sentence  or  paragraph^. 
7ticy  are  not  leqim  in  continuous  matter* 

'~  J  Plate    IIQ 


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Romitalic  Series  Ten  Letters 

abcdefghi 


rstuvwxyx 

AB  CDEFGH  IJKLM 
N0PQRSTUVWXYZ 

Single  or  double  stroke  Consfmctiotv 

^^^^  i  —  *  *          •  ^  -^  ^*-«  *> 


Plate 

117 


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lement 


.0,1         •?•     •  V 


abcdefghijklmrio 

pqrs  stuVv  vJx 

Romitalie  Pen  Letters 

31BCDEFGHIJJKLMT1 

OPQRSTUW1YZ 

Plate    Yl^ 


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abcdefghi  j  kl  mnopqrstuvwxy  z  &,&nva-Ki 

abcdefghijklmnopqi-stuvwxyz& 

abcdefghijklmnopqrstuvwxyZ'Square 
ABCDEF6HIJKLMNOPQRSTUVWXYZ 

A5CDEFGHUKIMLNOP 
QRRSTUVWXYZOWLI 


PLATE    175 

119 


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a-bcdefghijkl  mnopqrstuvwxyz&gy 

ABCDEFQHIJKLMNQPQRSTUVWXY^ 
abcdefghijklmnopqrsluv'wxyz-yga 

ABCDEFGHIJKLMNOPQRSTUVWXY 

a b c defy h ijk Imnopqrs  tu vwxyz vivxy. 

Ab  CDEFGHIJKLMNOPQRSTUVWXY2. 

dbcdefgtuj  feltnnopqivtuvwxyz  2nd  GO. 

abccLefgltii  hlrrxm  ivopqnrs 


PLATE   176 

120 


CHAPTER  XIX 


New  Alphabets  Versus  Old 


NEW  alphabets  are  simply  old  ones  reclothed.  Take,  for  ex- 
ample, the  Roman  letter.  For  two  thousand  years  it  has  been 
selected  and  preferred  by  the  wisest  readers  and  letterers.  It 
has  been  used  as  a  base  by  so-called  designers  to  build  upon,  tear 
apart,  reconstruct  and  devise  new  trimmings,  fancied  improve- 
ments, rechristened  with  many  high-sounding  trade  names. 

The  great  DeVinne  says :  "No  single  designer  nor  the  aggregate 
influence  of  all  the  generations  have  been  able  to  alter  the  form, 
add  to  the  legibility  or  improve  the  proportions  of  any  single  letter 
of  the  Roman  alphabet."  (Designers,  commercial  artists,  show  card, 
and  sign  writers,  please  take  notice.) 

We  can  and  do  adopt  certain  modifications,  sometimes  purely 
as  a  matter  of  simplifying  the  construction  and  shortening  the  time 
of  production  with  certain  tools  at  our  command,  but  so  far  as 
designing  a  new  letter  is  concerned,  it  can  not  be  done. 

Design  implies  invention,  and  no  one  can  invent  that  which 
already  exists.  Letters  do  exist  as  the  accepted  medium  of  intel- 
lectual exchange  So  that  by  designing  (?)  a  new  alphabet  we 
simply  burlesque  the  original.  One  might  as  well  attempt  to  invent 


a  new  language  as  to  design  or  invent  a  new  alphabet  in  the  true 
sense  of  the  word. 

However,  we  are  permitted  to  go  as  far  as  we  like,  providing 
we  can  collect  for  our  efforts  in  this  direction.  If  we  devise  some 
new  alphabet  that  appeals  to  the  taste  of  the  publicity  experts,  and 
can  produce  it  at  a  rate  of  speed  consistent  with  the  remuneration 
thereof,  it  naturally  follows  the  recompense  will  repay  the  effort. 

Take  any  ordinary  light  or  heavy  face  Roman  letter  and  trim  it 
all  the  way  through  with  different  serifs  (commonly  called  spurs), 
and  you  have  another  alphabet,  providing  the  same  characteristic 
serif  is  observed  in  proper  relation  and  position  on  each  and  every 
letter  throughout  the  entire  alphabet. 

Plate  2  shows  a  Roman  letter  with  compound  curve  spurs,  made 
with  one  of  Hunt's  new  No.  400  lettering  pens,  which  is  considered 
a  great  little  tool  for  the  card  writer. 

Plate  177  is  identically  the  same  proposition  so  far  as  formation 
is  concerned,  only  it  belongs  to  the  "bold  display  type,"  of  almost 
uniform  line  thickness  throughout,  and  can  be  best  and  most  easily 
and  rapidly  made  with  a  Style  B  Speedball  pen. 


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'  p  J* 

l  1     One  of  the  fine  lines  of  a 

one  of  the  fine  ci"oss  /ines  at  the 
top  or  bottom.   A.S  of  I.  ""Websler. 


Hlilxlxltll 

HMHhHhn 

HhHhillnHh 

mmmmm 

mmtnmm* 

- ty  %e  Score  #/x 


Plate   No.   1. 


Roni3.ll*     Constructed-  Finished 

„ ; with  compound-curve  serifs— 


abcdefghijklmnopqr 
stuuvwxyz  Cbinpany. 

"•[lie  vertical  elements  may  be  started  with 
curved  serif  in  place  of  compound  curves  if 


ru 


Kegul&r 
Modified 

r 


ABCDEFGHIJKLA1MNOPPQR 


Plate   No.    2. 


built  for  <£$xceeding  the  Speed  limit 

abcdefghjj  klmnopqrst 
uvwxjjz  -'Watch  your  step" 

A5CDEFGHIJKLMNOP 


6k/  the  Colics-  abedcfghi/hhnnopqistuvuttj/ 


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Roman-Bold  Display  Style 

compound  curve  serifs- 

\ 

ab  c  def ghijkl 

mnop  qr  sutvwxy 

ABCDEFGHLJKLM 
OPQRSTUVWXYZ 

may  be  zna.de  witK  eitKer  single 
or   double  do-v^n  stroke  of  the  pen 

PLATE    177 •*- 


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Ibr  a  Quick  Knockout 

ABCDEFGHIJKLMK 
OPQRSTUVWXY2& 

abcdefghijklmnopq 
rstuvwxyz-Finish-lO 

&     —.,  .  .r-TO 


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A  Comparison  of  Display  Values 

abcdef  abcdef 

ghijklm  ghijklm 

nopqrs  nopqrs 

luvwxy  tuvwxy 


Another  comparison  of  display  values 

i  2. 

abcdef g  abcdefg- 
hijklmn  hijklnm 
opqrstu  opqrstu 
vwxyz&>  vwxyz  &> 

The    same  alphabet  shown  in  two  styles   J\f?  l.in 
Bold- lace  display-  K?Q   H-air-line  finish  serifs  — 


Plate  179 


Pla-te  180 


125 


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or  variations  ^letter-staler  ofbr\e 


lettojr  H  like 


Plate  181 


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He  is  the  test  workman, who  produces 
that  which  is  test  suited  to  its  purpose 
with  the  least  expenditure  of  time,  money 
and  physical  effort.  The  kind  of  work 
thai  arouses  the  best  sentiment  in  those 
who  behold  it.  *  **  This  block  of  letters 
illustrative  of  alphabet  shown  in  Plate  1S8 


Plate  182, 


127 


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9ittpravi?ed  alternates  ar\^.  variations  cotijiryed 


abcdef^ujMmnopqwtuvawbxyz-  coi\dei\ged  mass 


ircr 


re?Qiviria  d 


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LETTERING  FOR  COMMERCIAL  PURPOSES 


'          /*  j 

unction  of  advertising^ 

.    *~^    ,   *-^  ^          /c>     c^ 

1S  to  introduce  what  you,  nave  to  sett 


to  fase  vmo  can  use  it  fp  aavanfae 
m  suBt  a  Way  maf  they  will  fall 


184: 


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Poster  Letter  s 

ABCDEFGHIJKL 
MNOPRSTUVWXY 


opqrstiivwioj'z  si 
alternate  farms  for 


abcdefgfii/Kfmopqrstu 
nvuxxyz,  a  semi-script 

Swask  line  italics     with  a  (Romitalic  (Pen 


ABCDEFQHIJKLMN 


187 


he  prompt  adoption  by  the  printers 
of  the  inventions  of  the  designer  has  al- 
ready assimilated  nearly  every  possible 
style  of  letter  that  human  ingenuity  can 
demise  and  he  who  attempts  to  produce 
anything  really  new  and  characteristic  finds 
himself  very  shortly  face  to  face  with  the 
tilings  that  have  been  done  before  with,  no 
opening  except  a  very  eccentric  one "  v 


A  I%ed.  Bold.  Display  Letter 
Extremel  Characteristic  and 


POSTERESQUEl 

abcdefghijklmnopqrstuvwxyz 

ABCDEFO-HIJK-LMN- 
O-P-Q-R-S-TU'V-  W-X-Y-Z-  »• 

The  possibility  of  condensed  spacinf 

ni    t      ioc? 


Plate  188 


130 


LETTERING  FOR  COMMERCIAL  PURPOSES 


131 


LETTERING  FOR  COMMERCIAL  PURPOSES 


Detachable  Winter  Top 

Gives  Sedan  Luxury 
at  Touring*  Cacr  Price 


noes 

The  top  is  put  on  in  a  few 
minutes,  making  the  car 
an  enclosed  type  of  sedan 
effect  for  cold. stormy  days. 


Plate  1QO 


132 


CHAPTER  XX 


The  Show  Card  and  the  Show  Card  Man 


AS  a  trade,  profession  or  occupation,  show  card  writing  has  prac- 
tically three  different  fields  to  cover,  and  each  one  is  widely 
separated  from  the  other,  not  only  in  the  class  of  work  one 
is  called  upon  to  do,  but  how  it  is  done. 

First,  the  average  department  store  show  card  writer  is  essen- 
tially a  "quantity  first"  proposition.  The  vast  amount  of  work  he  is 
called  upon  to  do  in  a  limited  time  does  not  permit  of  much  display 
of  "class"  either  in  lettering  or  decorative  effect.  His  main  object 
in  life  seems  to  be  a  feverish  anxiety  to  keep  his  "rush  order"  file 
empty.  If  he  ever  has  a  few  moments  to  spare  during  working 
hours  he  generally  rests  up  a  little  by  putting  forth  an  extra  effort 
to  put  a  "kick"  in  the  window  cards,  something  that  will  make  the 
"old  man"  sit  up  and  take  notice,  or  the  "other  fellow"  feel  the 
pangs  of  professional  envy.  If  he  can  pull  a  mysterious  stunt  that 
will  keep  the  other  fellow  guessing  for  a  minute,  that's  his  recrea- 
tion and  a  part  of  the  game. 

Short  Cuts  That  Increase  the  Bank  Roll 

He  welcomes  with  open  arms  any  little  thing  that  will  enable 
him  to  shorten  his  labor,  thereby  giving  him  more  time  to  do  better 
work.  Every  thirty  seconds  saved  on  a  quarter  card  means  that 
much  longer  to  live,  thereby  being  able  to  do  more  work  in  less 
time.  That's  his  only  hope  of  ever  being  able  to  increase  his  income. 

He  is  never  at  a  loss  for  something  to  do,  even  if  his  file  is  tem- 
porarily empty.  There  is  always  a  sale  or  special  occasion  event 
staring  him  in  the  face.  While  he  is  waiting  for  that  there  is  a  door 
or  trunk  to  letter,  some  delayed  or  sidetracked  inside  permanent 
signs  to  finish  which  some  department  manager  has  been  crying 
about  for  a  week. 


""Then  when  the  bell  rings  for  quitting  time  and  -everyone  else 
(but  the  window  trimmer  and  himself)  can  go  home,  he  is  ready  to 
finish  up  a  bunch  of  window  tickets  and  get  his  sale  table  cards  out 
for  the  morning  rush.  That  is,  unless  he  would  rather  come  back 
after  supper  and  finish  up  "temporarily."  Tomorrow  he  will  be 
stuck  again. 

Any  time  a  department  store  show  card  man  is  idle  he  is  out  of 
a  job.  The  writer  had  fifteen  years  of  it,  off  and  on,  and  knows 
whereof  he  speaks. 

The  "Combination"  Man 

The  window  trimmer  who  writes  his  own  cards  has  a  rather  hit- 
or-miss  proposition  on  his  hands.  His  shop  is  usually  tucked  away 
in  some  corner  that  could  not  possibly  be  used  for  anything  else. 
The  time  he  utilizes  for  making  his  cards  is  generally  sandwiched  in 
between  breathing  spaces.  Any  old  time  will  do,  just  so  he  gets 
them  done. 

Under  such  circumstances  one  can  not  expect  him  to  waste  any 
time  on  art-for-art's-sake  production,  and  yet  the  work  some  of 
these  boys  turn  out  on  short  notice  will  make  many  a  department 
store  or  shop  man  take  off  his  hat  and  also  wonder  how  he  can  do 
it,  considering  the  amount  of  other  work  he  has  to  do. 

However,  the  remuneration  for  a  combination  trimmer  and  card 
writer  is  usually  twice  or  three  times  that  of  the  department  store 
man,  which,  in  the  main,  repays  one  for  the  extra  effort  and  uncer- 
tain hours. 

The  Shop  Man's  Liberties 

The  shop  man,  as  a  rule,  can  derive  a  little  more  satisfaction  and 
amusement  out  of  his  daily  labors  from  the  fact  that  he  can  occa- 


133 


LETTERING  FOR  COMMERCIAL  PURPOSES 


sionally  give  his  imagination  a  little  more  play.  He  is  not  tied 
down  to  any  one  certain  style  or  class  of  work,  or  the  sameness 
which  usually  characterizes  the  department  store  style. 

In  the  majority  of  cases  he  is  allowed  to  use  his  own  judgment 
in  filling  his  orders,  such  as  color  schemes,  layouts,  alphabets,  deco- 
rative stunts,  etc.,  and  thereby  can  use  his  imagination  or  exercise 
his  versatility  without  much  fear  of  comment,  and  his  productions 
sometimes  become  a  pleasurable  source  of  recreation,  depending  in 
a  measure  upon  the  price  he  can  get.  If  it  brings  his  shop  any  ad- 
vertising through  the  merit  of  the  work  he  is  doubly  repaid. 

However,  he  can  not  afford  to  do  his  best  and  also  make  the 
price  concessions  necessary  to  successful  competition  these  days. 
With  all  other  branches  of  commercial  art,  show  card  writing  has 
been  brought  down  to  the  last  degree  of  perfection  by  modern 
methods  and  also  reduced  in  cost  to  the  smallest  margin  of  profit 
consistent  with  the  wage  scale  in  operation  among  first-class  work- 
men. So  now,  the  eternal  question  that  confronts  the  worker  is, 
"Not  how  good,  but  how  quick  can  I  do  it  good  enough  for  the 
amount  I  am  paid?" 

Once  upon  a  time,  if  a  workman  finished  a  couple  of  full  sheets 
and  a  half  dozen  small  cards,  his  day's  income  amounted  to  five  or 
six  dollars.  Both  customer  and  himself  were  satisfied  as  far  as 
value  received  was  concerned.  It  he  were  to  get  the  same  price 
per  card  these  days  he  could  turn  out  forty  dollars'  worth  of  work 
every  eight  working  hours.  The  work  is  still  here,  the  hours  are 
still  sixty  minutes  long,  but  the  price  is — oh,  well,  that's  different ! 
The  question  is,  How  fast  can  you  turn  out  the  work? 

To  be  sure,  we  have  better  brushes,  better  colors,  better  pens 
and  better  cardboard;  the  air  brush  and  many  other  labor-saving 
devices,  such  as  the  old-timer  never  dreamed  of. 

Show  Card  a  Sales  Medium 

The  humble  show  card  is  given  a  place  in  the  mercantile  world 
second  to  none  as  a  direct  sales  medium.  The  price,  quality  and 
quantity  are  brought  directly  before  the  individual,  in  many  cases 


actually  on  the  article  offered  for  sale.  How  much  further  could 
any  medium  go  ?  A  verbal  demonstration  does  not  carry  the  sales 
message  so  well.  That  admits  of  an  argument,  and  one  can  not 
argue  with  a  show  card. 

If  its  general  appearance  is  pleasing  to  the  eye  and  the  price  is 
within  the  reach  of  the  purchaser,  it  immediately  conveys  a  mental 
resolution  to  choose  that  article  if  a  purchase  is  intended. 

The  reverse  impression  is  created  if  poorly  executed,  cheap- 
looking  cards  are  used.  One  would  hardly  credit  the  veracity  of 
any  concern  that  would  label  a  fifty  dollar  overcoat  with  the  top  of 
a  collar  box  marked  in  blue  pencil  or  marking  brush,  or  use  other 
equally  unbusiness-like  salesmanship. 

Cheap  looking,  poorly  executed  cards  convey  just  the  same  idea 
they  represent.  They  make  a  fifty  dollar  article  look  like  $4.98. 

It  is  not  my  purpose  to  give  a  dissertation  on  the  value  of  a 
card,  but  to  enlarge  on  the  possibilities  of  producing  good  appear- 
ing cards  in  the  shortest  possible  time.  . 

With  the  advent  of  modern  lettering  pens  and  the  rigger,  or 
so-called  one  stroke  brush,  the  show  card  has  moved  into  a  class 
by  itself.  It  was  no  longer  a  "card  sign" — it  became  a  display  card, 
cheaper  in  cost  on  account  of  the  increased  rapidity  with  which  it 
could  be  made. 

Speed  is  Essential 

In  turn,  it  created  a  new  trade  or  profession,  and  today  it  fur- 
nishes employment  for  thousands  of  well-paid  men  and  women 
according  to  their  individual  qualifications,  the  first  essential  being 
speed. 

About  the  first  question  a  man  is  asked  when  he  presents  his 
samples  is,  "How  about  your  speed?" 

A  beautiful  bunch  of  samples  may  get  you  a  position,  but  you 
won't  hold  it  long  on  that  qualification  alone. 

Art  is  one  beautiful  thing  to  behold,  but  commercial  art  is  all 
that  its  name  implies.  Commerce  is  moving  so  fast  nowadays  that 
it  requires  top  speed  to  even  stay  in  the  race  and  be  an  "also  ran." 


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A  Handsoma.high- 
grade,  beautifully 
finished-  luxuriously 
easy-riding"  enclosed 
coach.  The  Sedan  body 
is  easily  removed »— 
giving  you  an  opetv 
touring  car  including 
summer  top  for  warm 
weather  touring.—  , 


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LETTERING  FOR  COMMERCIAL  PURPOSES 


FHOTOGRAPHY 

)EFGHIdKL 

1     Krjklmn 


dbcdefg 

qrstuvw 


o 


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LETTERING  FOR  COMMERCIAL  PURPOSES 


We  can't  all  be  topnotchers,  but  it  would  be  well  to  remember 
there  will  always  be  a  market  for  mediocre  work.  Therefore,  the 
workman  who  finds  himself  handicapped  by  nature,  environment, 
or  lack  of  proper  training,  should  remember  that  the  premium  on 
"speed"  is  often  in  excess  of  "quality."  If  you  can't  get  $6.00  for 
a  piece  of  work  that  requires  superior  skill,  train  yourself  down 
to  running  weight  and  do  two  jobs  at  $3.00  in  the  same  length  of 
time.  The  bank  roll  will  show  the  "big  six"  just  the  same. 

While  you  are  not  busy,  study,  think,  practice.  This  business 
is  an  art,  and  before  entering  the  field  you  may  as  well  understand 
that  there  is  no  cash  value  in  art  to  one  who  has  no  native  skill  or 
no  strength  of  character  to  put  forth  indefatigable  effort  to  perfect 
that  skill.  Art  is  a  rocky  road  to  travel,  and  he  who  is  minus  on 
talent  had  better  keep  out  of  it.  The  employers  are  constantly  be- 
sieged by  applicants  who  have  neither  the  ability  nor  the  speed. 


You  have  got  to  deliver  something — either  quality  or  quantity. 

There  is  no  royal  road  to  financial  success  in  this  business. 
Study  yourself;  determine  your  potential  abilities.  It  is  the  "eye- 
minded"  who  make  the  best  workmen  in  any  branch  of  the  applied 
arts,  those  who  have  a  strong  sense  of  form  and  a  talent  for  work 
with  their  hands,  and  who  learn  better  from  what  they  see  than 
from  what  they  read  or  hear. 

If  you  happen  to  be  "ear-minded"  and  learn  better  from  what 
you  read  or  hear,  the  chances  are  favorable  that  your  best  efforts 
will  be  rather  disappointing  in  this  field.  There  is  many  a  good 
salesman,  lawyer  or  literary  genius  making  as  high  as  $12.00  per 
week  as  a  show  card  writer,  merely  as  a  matter  of  preference  of 
employment.  To  him  nothing  can  be  said  that  carries  any  weight, 
but  we  may  be  able  to  tell  him  what  not  to  do,  which  may  ulti- 
mately be  of  benefit  to  the  other  fellow  as  well  as  himself. 


The  Air  Brush 


The  air  brush  has  done  a  great  deal  to  further  the  interest  of 
the  show  card  man.  The  tendency,  however,  is  to  overdo  and  to 
cover  up  deficiencies  in  lettering,  layout,  etc.  The  choice  of  colors 
should  be  carefully  studied,  and  let  harmony  rather  than  sharp  con- 
trast be  the  rule. 

Shaded  letters,  if  they  be  large  enough,  are  good,  but  back- 
ground stunts  are  faster,  more  effective  and  admit  of  many  more 
changes  in  appearance  and  design. 

Sometimes  I  use  a  frame  slightly  larger  than  the  card,  drive 
brads  in  both  outside  ends  about  one-eighth  inch  apart,  then  string 
it  with  waxed  linen  thread  or  thin  rubber  bands,  which  forms  a 
screen.  Lay  this  on  the  card  so  that  the  threads  fit  tightly  along  the 
surface,  shoot  the  air  on  in  the  same  direction  the  strings  lie,  and 


it  gives  a  beautiful  striped  effect  which  is  now  so  popular.  Further 
effects  can  be  obtained  by  laying  different  shaped  cut-outs  or  mats 
on  top  of  the  screen. 

Color  variation  can  be  obtained  by  shooting  from  top  to  bottom 
of  card  after  screen  has  been  removed. 

"Spatter  work"  backgrounds  can  be  obtained  by  shooting  the 
air  through  fine  wire  screening  held  at  about  three  to  four  inches 
from  the  nozzle  of  the  brush. 

You  can  also  get  very  pretty  tones  on  ripple  surface  boards  by 
shooting  the  air,  not  directly  at,  but  across  the  surface,  having  pre- 
viously decorated  the  surface  with  some  snappy  design  or  scroll  in 
a  thin  wash  of  color,  which  gives  a  different  tone  after  the  air  has 
been  applied. 


137 


LETTERING  FOR  COMMERCIAL  PURPOSES 


from  the  present- 
day  printers  and 
letterers  art  wo 
have  amedlyof 
type  faees  and 
alphabets  that 

simply  defies 
classification  or 
enumeration. 


is  more 


1     *     *^       j 
to  design  ajood 

jmge  of  lettering 
'than  to  ml  me  same 
r>aq&  Ttfitn  a  qood 

'£%?.*      H^.  v  i 

pic^urc^jkis  makes 
flic  3eswwr6l)rol)ierf[ 
6till  more  difficult, 
alfkougk  notfwbeless 


138 


LETTERING  FOR  COMMERCIAL  PURPOSES 


rn  Act  are  not- 
familiar  witlia  cemht 
style  lOill  not  use  it 
Hence  fte  lad?  oP 


bool^stf les 
doubt  fi%  met  Ae 
reqttireraeiits"  oftlie  * 
l/^CCttiiry,  bat  diuce 
4at  ttnie  ener<gyand 
endeavor  to  expess 
taigjits  and  ideas 
in  letters  'have  tifcn 
otlier  ulder  Aiinds. 


PUBLIOTY 


'BOIMQ  CIQTHi 


^•MKm 
-W- 

HAMD1ETTERED 

Show  Card 

occupies 

a  similar 
distinction. 


139 


LETTERING  FOR  COMMERCIAL  PURPOSES 


lear 


a  u  t  if  ally 

is  an  aceowiplishtwnt 

IM     ITSELF! 


Hie  atilj.ty  to  dmr 
plaia,  simple  letters 

' 


r 

iri  it  self 

but  of  little  use 

'without  the  skill 

to  compose  them 

effectively: 


140 


LETTERING  FOR  COMMERCIAL  PURPOSES 


The 
hristmas 

Book 
Store 


Childrens 
D  OCRS 

popular  authors 


or 


Guaranteed  QOKear  Cases'. 


-QOO- 


141 


LETTERING  FOR  COMMERCIAL  PURPOSES 


Ike  quick  Erowa  fox 
Umped  over  tke 
azydogs 

cA  DCDEFGHITKLMH 
OPQR5TUVWXYZ5J 


Suit- 
Clearance 

435? 

Second  FToor 


•  FREDERICK  & 


142 


LETTERING  FOR  COMMERCIAL  PURPOSES 


[ROUT 


u 


Opens  Mav 

Every thiag    for 
the    Sportsmatv> 

Tufts-  Lyon  Arms  @o. 


The  Relation 
of  Quality 
and  Price 

is  wltat  constitutes 
either  Economy 
or  Extravagance 

Bums  Shoe  Co. 

Li  o  s     Angeles,      C  a  1. 


143 


LETTERING  FOR  COMMERCIAL  PURPOSES 


J3WFURS 

in.  the 

Fall  Fashion  Short 


QTRIKINO  th 

*>— *"^  I      ,_-  ^™fc       «_-     V-     -«%™..  V**V         ^»         ^^V 


stylos  that  will 
lead  fashion  in  its 
showind  of  tK.e 
new  fau  fttrs  an- 
domonstratitx^  ii 
fttf  styles  -^   alT 
tliat  is  new*.    Fe1? 
Women  Will  mis 
study  or 
the  Very  exce|'tioii< 
pieces  We  are  no^ 


144 


LETTERING  FOR  COMMERCIAL  PURPOSES 


THB  RICHNESS 
&REFIHEMENC 


^Miich  these 
fabrics 
radiate 
proclaim 


altDg&fber 
the  Better 
dressed 


145 


LETTERING  FOR  COMMERCIAL  PURPOSES 


^DEPARTMENT 


MEZZAMNE  FLOOR 


a  Dokrmann  Co. 


2O9 


146 


LETTERING  FOR  COMMERCIAL  PURPOSES 


, 


ODERN 

DECORATIVE 


A5CDFGHIJMMM 
OPQPSTUVWATZ61 


*    1 

< 


etc 


210 


147 


LETTERING  FOR  COMMERCIAL  PURPOSES 


Jo  lusher  in  the 

Oift^Buymq  Season 
7  J 

MONGOLIANS 

In  cooperation,  with  other  leading 
Jewdry  Stores  of  San^rancisco~, 
^Oill  hold  oben  house  to  the  public 

Monday  }{ovember  26* 

"from  1' until  5'w  du  Jtftenwmi.. 


"jf{s  has  always  been  our  custom  it  is 
our  desire  that  no  merchandise  be 
sold  during  opening  hours  in  this 
establishment   on  this  occasion/. 


Q\n  Unique  Series 

of  alphabets  based  on.  the  principles 
of  Roman  Letters,  The  salient  feature 
being  compound  curve  serifs  which 
can  oe  made  with,  greater  ease  and 
rapidity  than  s  traight- line  spur  finish. 

flote  the  difference  in  finish  between  Roman  fitlfnique 
Roman  Letters  — Unique  Series 

mrsun  mrsun 


LETTERING  FOR  COMMERCIAL  PURPOSES 


Unique  Series.K9! 


op  qr  s  tuv  wxy 


-2B- 


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LETTERING  FOR  COMMERCIAL  PURPOSES 


ou  are  trying  so  hard  to  accomplish,  a 
certain  thine?  tLatj^ou  thwartjytour  own 
purpose  N,     When^you  put  too  much 
thought  and  effort  to  the  determination 
j^ou  have  to  master  the  thine*  in  hand 
jtour  train  is  Working  on  the  enforcement 
of  vour  mental  decision  \,   not  on  the 
subject  to  Jbe  mastered,  ^bu  tighten- 
up;j/-our  muscles  are  not  responsive;lbu 
work,  under  too  dreat  e  strain,  oVer-araious 


, 

to  accomplish  by  lorce  of  mental  energy 
that  Which  the  untrained  muscles  refuse 
to  perform  or  the  eye  to  \feuaUy  comprehend. 


150 


CHAPTER  XXI 


Illustrative  Stunts  for  Show  Cards 


WE  are  continually  confronted  with  the  question  of  illus- 
trated or  decorative  matter  for  the  show  card.  Nine  out  of 
ten  show  card  writers  are  "stuck"  when  called  upon  to  fur- 
nish illustrated  matter,  and  nine  times  out  of  ten  the  reason  for 
being  "stuck"  is  not,  as  supposed,  the  inability  to  draw,  but  the 
attempt  to  overdraw  and  the  departure  from  simplicity. 

The  choice  of  a  subject  is  usually  one  that  would  be  a  sticker 
for  an  accomplished  artist  or  portrait  painter. 

Many  art  students  and  others  who  are  capable  of  producing 
very  creditable  "sketches,"  imagine  that  they  would  be  valuable 
in  a  card  shop.  As  a  matter  of  fact,  the  shops  are  continually  be- 
sieged by  embryonic  artists  (?),  who,  while  sometimes  are  able  to 
produce  very  creditable  pictures,  are  worse  than  useless  in  shop 
work  for  the  very  simple  reason  that  the  average  sketch  or  picture 
has  no  commercial  value  when  applied  to  the  show  card  or  sign 
business. 

First,  because  they  require  too  much  time  in  the  production  for 
the  amount  usually  pa\d  for  this  work. 

Second,  art  and  commercial  art  are  two  different  things. 

Pictures  and  posters  are  even  more  widely  separated. 

The  man  who  can  fake  up  a  little  decorative  stunt  in  snappy 
colors  and  do  it  quickly,  in  flat  poster  style,  can  always  find  plenty 
to  do  in  card  shops.  It  doesn't  make  a  particle  of  difference  how  he 
gets  it  done,  so  long  as  it  is  effective.  The  boss  doesn't  care 
whether  you  are  a  student  of  Rembrandt  or  a  scrap  book  pirate 
with  a  pantograph  and  a  roll  of  tracing  paper  up  your  sleeve,  so 
long  as  he  can  deliver  on  time  and  collect  for  your  efforts.  A  card 
or  sign  shop  has  no  time  for  the  discussion  of  handling,  technique, 


linear  or  circular  perspective,  atmosphere,  etc.,  etc.,  all  based  on 
the  hearsay  gabfest  usually  peddled  back  and  forth  between  those 
who  infest  the  art  centers,  or  the  ragged  edges  thereof,  which  is 
ofttimes  referred  to  as  that  "dear  Bohemia."  Mostly  "Bushwa"  by 
those  who  know. 

The  man  who  can  take  a  pot  each  of  black,  white,  red,  yellow 
and  blue,  and  lay  them  over  a  sketch  in  flats  and  with  never  a  blend 
depict  the  tones  in  lights  and  shadows,  can  get  more  money  for  his 
work  these  days  than  a  dozen  artists  who  will  struggle  for  detail 
blends,  tones,  hues  and  atmospherical  effects  that  are  lost  to  nine 
out  of  ten  observers. 

A  poster  is  a  picture,  but  a  picture  is  not  a  poster. 

For  a  simple  example  by  way  of  illustration,  take  for  the  motif 
a  pot  of  roses,  one  of»  the  hardest  floral  subjects  to  paint  when 
handled  in  natural  blends  of  colors.  Make  a  simple  outline  sketch 
or  tracing  of  the  subject,  and  instead  of  reproducing  it  as  it  natur- 
ally looks,  block  each  section  of  the  flower  in  solid  masses,  sepa- 
rated by  thin  lines  of  the  background  or  outlined  with  a  black  line 
or  any  other  harmonious  color.  Thus,  we  get  the  poster  rose.  A 
black  mass  of  shadow  behind  the  subject  produced  intensifies  the 
effect.  This  may  or  may  not  be  art,  as  the  word  is  defined,  but  it 
is  not  bad  to  look  at  from  a  decorative  viewpoint,  and  it  may  be 
done  very  quickly  which  is  the  most  desirable  acccomplishment 
from  a  commercial  standpoint. 

There  are  very  few  subjects  that  cannot  be  treated  in  practically 
the  same  manner.  We  see  wonderful  resemblances  to  the  originals 
even  in  portraiture  handled  in  poster  style.  That  branch,  however, 
requires  considerable  talent,  or  patient  practice. 


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Animals,  birds,  trees,  flowers,  landscapes,  mechanical  devices, 
buildings,  human  figures,  etc.,  done  in  poster  style,  have  a  greater 
commercial  value  than  finished  pictures  when  applied  to  the  art  of 


illustrated  publicity,  such  as  furnishes  a  market  for  the  produc- 
tions of  the  show  card  and  sign  fraternity  and  many  branches  of 
the  commercial  art  worker's  field. 


Lr2 


CHAPTER  XXII 


Motion  Picture  Titles  and  Their  Preparation 


A  NOTICEABLE  feature  of  the  moving  picture  theatres  that 
run  productions  by  the  leading  film  companies  is  the  artistic 
titles  and  sub-titles  used.    Not  only  are  the  background  de- 
signs works  of  art,  but  the  lettering  is  of  a  style  and  character 
that  commands  admiration  no  matter  whether  the  spectator  is  in- 
terested in  lettering  or  not. 

The  "old-time"  announcement  lantern  slide  as  projected  on  a 
screen  was,  as  a  class,  the  most  abominable  .grade  of  work  that 
could  be  imagined ;  in  fact,  many  of  the  present-day  announcement 
slides  as  shown  in  our  most  modern  moving  picture  palaces  are  of 
a  make-shift  nature,  poorly  lettered,  patched-up  cutouts,  badly  ar- 
ranged and  colored  with  shrieking  reds,  yellows  and  greens,  which 
appeal  only  to  the  most  primitive  tastes. 

The  live  director  of  a  modern  film  company  realizes  that  a  dis- 
cerning public  appreciates  the  value  of  artistic  titles  as  well  as  good 
pictures,  and  today  every  company  of  any  prominence  has  its  own 
title  department  under  the  direct  management  of  a  capable  artist, 
who  thoroughly  understands  the  preparation  of  tone  values  in  draw- 
ings for  successful  moving  photography,  as  these  titles  are  not 
shot  "still."  They  are  filmed  by  the  foot  depending  on  the  length 
of  the  title  or  reading  matter. 

Small  film  companies  or  specialty  feature  concerns  do  not  oper- 
ate individual  art  or  title  departments.  They  find  it  cheaper  to  con- 
tract the  work  with  some  of  the  local  card  shops,  of  which  there 
are  several  in  Los  Angeles  that  have  competent  letterers  and  fa- 
cilities for  turning  out  this  class  of  work  in  a  thoroughly  satisfac- 
tory manner. 

Appropriate  subjects  for  title  backgrounds  are  selected  by  the 


artist  from  the  features  of  the  picture,  depending  on  where  the 
title  cuts  into  the  film.  These  may  be  either  selected  from  the 
"stills"  or  sketched  on  the  location  of  the  scene  taken,  and  finished 
up  in  proper  tones  at  the  studio.  A  section  is  either  cut  out  for  a 
black  background  insert  of  the  white  lettered  title  matter  or 
darkened  to  furnish  sufficient  contrast  to  show  the  white  lettering 
to  be  clean  cut  and  sharp.  In  some  cases  where  art  backgrounds  are 
used  which  are  of  a  tone  that  does  not  admit  of  white  lettering 
directly  on  the  subject,  the  title  matter  is  lettered  on  a  separate 
black  card  of  the  same  dimensions,  and,  by  a  double  exposure  sys- 
tem, the  lettering  shows  white,  clear  and  distinct,  even  over  very 
light  grey  half-tone  backgrounds.  Also  the  fade-away  titles,  or 
those  which  gradually  appear  and  disappear  while  the  actual  scenes 
of  the  story  are  being  projected  on  the  screen,  are  prepared  by  a 
system  of  double  exposures.  The  art  backgrounds  are  either  made 
in  black  and  white  half-tone  effect  with  water  colors  or  in  pastel,  or 
black  and  white  chalk  blended  into  delicate  grey  tones,  the  latter 
showing  most  effectively  because  of  the  extreme  hazy  velvetone 
which  is  very  difficult,  if  not  impossible,  to  produce  in  water  colors. 
The  lettering  itself  must  be  absolutely  opaque,  otherwise  when 
projected  on  the  screen  it  will  present  a  streaky  or  mottled  appear- 
ance, uneven  in  tone,  merging  into  grey,  if  transparent.  Semi-bold 
face  letters  of  Roman  character  are  used  mostly. 

Eccentrics  are  permissible  if  artistic  in  general  arrangement ; 
regulation  Roman  letters,  which  contain  pronounced  accent,  and 
hair  lines  are  seldom  used  principally  from  the  fact  that  the  hair 
lines  lose  out  in  comparison  in  photography  and  still  further  lose  in 
the  projection  on  the  screen,  rendering  the  production  illegible. 


153 


LETTERING  FOR  COMMERCIAL  PURPOSES 


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Close  observation  of  some  of  the  titles  used  by  certain  film  com- 
panies whose  letter  artists  effect  the  style  Roman  with  sharp  spurs 
and  hair  lines  will  show  whiter  spots  at  the  junction  of  the  spurs 
and  also  where  the  lines  join  together,  while  the  fine  lines  and  ex- 
treme tips  of  the  spurs  are  a  greyish  tone. 

This  is  caused  by  the  overlay  of  white  in  joining  the  spurs  and 
junctions  of  hair  lines  with  the  heavier  elements,  the  overlay  of 
color,  of  course,  being  more  opaque  than  the  single  strokes  of  the 
hair  lines.  This  may  not  be  apparent  to  the  eye  in  the  original,  but 
the  camera  discovers  and  discloses  details  that  the  sharpest  vision 
overlooks.  A  zinc  etching  of  a  drawing  of  this  description  may 
come  out  pure  white  and  black  in  the  printing,  but  a  film  is  trans- 
parent, and,  unless  the  white  is  opaque  (solid),  it  will  come  out  in 
half-tone  grey  when  projected  on  the  screen.  Consequently,  the 
most  successful  title  letterers  effect  a  style  minus  fine  hair  lines 
and  sharp  terminals  which  are  termed  "Monotone  letters"  either  in 


regulation  forms  or  eccentric.  It  is  a  well-known  fact  that  unless 
a  workman  is  exceptionally  efficient  it  is  hard  to  retrace  a  hair  line 
stroke  to  make  it  opaque.  It  is  also  somewhat  of  a  stunt  to  make  a 
clean  cut  hair  line  with  a  brush.  The  paint  must  be  exactly  right,  the 
brush  exceptionally  good.  The  working  surface  cuts  considerable 
figure  in  the  operation  and  the  operator's  nerve  must  not  border  on 
a  condition  of  "the  morning  after." 

Aside  from  the  letter  styles  the  most  important  feature  of  title 
work  is  the  general  arrangement,  or  layout.  The  spacing  usually 
requires  careful  consideration  in  order  to  completely  utilize  the 
space  allotment  and  only  in  extreme  cases  is  it  permissible  to  split 
a  word  at  the  end  of  a  line. 

A  system  of  press  work,  printing  in  white  on  black  cardboard  is 
sometimes  used  in  the  preparation  of  a  cheaper  grade  of  picture 
titles,  which,  of  course,  can  not  be  compared  with  hand  lettering 
for  artistic  effectiveness.  An  attempt  has  been  made  to  cast  a  series 
of  type  faces  from  some  of  the  eccentric  styles  effected  by  letter 
artists.  Unless  numberless  styles  of  each  and  every  letter  are  cast, 
to  fit  the  innumerable  combinations  effected  by  the  hand  letterer  in 
his  impromptu  style  of  spacing  and  arrangement,  the  attempt  will 
be  a  failure,  for  all  type  faces  run  by  measurement,  while  hand 
lettering,  of  the  better  grades,  is  simply  a  matter  of  individual 
artistic  spacing  and  arrangement,  regardless  of  given  measure- 
ments, except  as  to  area  or  space  dimensions  allowed  for  a  specified 
amount  of  copy. 

After  a  picture  has  been  filmed  and  developed,  it  is  taken  to  the 
projecting  or  try-out  room  and  projected  on  a  screen.  The  director 
determines  where  the  titles  should  appear.  The  film  is  cut  and  the 
specified  number  of  feet  of  title  film,  either  subsequently  prepared 
or  immediately  arranged  for,  is  joined  in  the  cut.  Frequently 
changes  are  found  necessary  in  the  titles.  This  means  rush  work 
for  the  art  department  at  all  hours,  night  or  day,  as  the  release 
dates  are  probably  advertised  weeks  in  advance. 

Los  Angeles  is  the  moving  picture  center  of  the  world.    All  the 


154 


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big  companies  have  studios  in  and  around  here ;  many  of  them  are 
practically  cities  in  themselves.  Some  are  at  the  seashore,  others  in 
the  hills  and  valleys.  The  remarkable  climatic  conditions  afford 
good  operating  light  at  all  seasons  of  the  year. 

And  as  for  scenic  effects,  it  may  be  said  that  within  an  hour's 
ride  from  the  city  by  trolley  or  auto  in  any  different  direction  is  a 
diversified  range  of  natural  locations  covering  everything  desired 
from  Alaskan  snow-clad  mountains — dog  teams  and  all  the  trim- 
mings, to  placid  lakes,  roaring  mountain  streams,  cactus  and  sage- 
covered  deserts,  tropical  islands,  rock-bound  coasts,  sand  dunes  of 
Sahara,  pine-clad  hills,  cattle  ranches,  orange  groves,  oil  fields, 
Chinatowns,  Japanese  fishing  villages,  ocean-going  steamers, 
battleships,  submarines,  army  encampments,  forts,  coast  defenses, 
shipbuilding,  Indians,  Mexicans,  old  missions  and  old  country  vil- 
lages (erected  over  night)  in  appropriate  scenic  locations. 

It  is  small  wonder,  therefore,  that  such  a  locality  should  be  the 


chosen  workshop  of  our  most  popular  form  of  amusement — "the 
movies."  Every  day  we  see  murders,  highway  robberies,  bank  bur- 
glaries, wild  chases  through  crowded  thoroughfares,  up  alleys  and 
over  housetops,  wife  beaters,  kidnapers,  comic  cops  and  comedians. 
People  get  accustomed  to  seeing  a  wild-eyed  female  with  a  hand- 
bag in  one  hand  and  a  six-shooter  in  the  other  chasing  a  half-stewed 
husband  through  the  thickest  traffic  at  the  busiest  hour  of  the  day. 
It's  only  the  "movie  crowd"  pulling  a  stunt  that  will  get  ten  million 
laughs  between  the  time  it  is  released  in  New  York  and  when  shown 
here  in  some  local  show  shop  maybe  months  later.  For  be  it  known, 
that  while  most  of  the  big  productions  are  filmed  in  and  around 
Los  Angeles,  they  are  all  released  through  New  York,  so  by  the 
time  the  films  get  back  to  their  own  home  town  they  are  old-timers, 
but  none  the  less  eagerly  looked  forward  to  by  those  who  have 
been  chance  spectators,  and  perhaps  included  in  the  scene  by  the 
same  reason. 


155 


LETTERING  FOR  COMMERCIAL  PURPOSES 


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168 


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169 


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ROYAL  MINION 


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Sing'le  Stroke  Show-card.  Roman 

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It 

^RICHNESS 
^REFINEMENT 

Which  these  fabrics 
radiate  •=-  together 
with. -the  absolutely 
faultless  tailoring 
Av"ill  proclaim  you 
altogether  the 
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DESIGNERS 


-uejns-rrom  our  selection  or 

ORIENTAL 
ART  GEMS 

T(ou  are  cordially 
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173 


UNIVERSITY  OF  CALIFORN 
BERKELEY 


Return  to  desk  from  whicl;^ 
This  book  is  DUE  on  the  last  da 


18Mar5lKtyl 
29Qcta/JP 


12MY'58RC 
REC'D  DO 


•    MAY?   1953 


LD  21-100m-9,'47(A5702sl6)47i 


THE  UNIVERSITY  OF  CALIFORNIA  LIBRARY 


